LSM Newswire

Monday, November 30, 2009

Stage is set for 2010 Junofest submissions

Perform in a two-night music extravaganza as part of JUNO WeekApril 16 & 17 in St. John's, Newfoundland and Labrador

Submissions open November 16, 2009

WHAT:

JunoFest is a two-night music festival that is a part of the 2010 JUNO Week. The all-live festival will feature the talents of over 100 local, regional, and national artists representing the many genres of Canadian music.

A significant number of artists participating will be selected locally to celebrate St. John's distinct music scene, in addition to performances from 2010 JUNO Award nominees and some of Canada's national touring acts.

WHEN:

JunoFest will take place at over a dozen venues in downtown St. John's on Friday, April 16th and Saturday, April 17th each night from 9:00 p.m. to 2:00 a.m.

HOW:

Artists and bands that wish to partake in this year's JunoFest can apply online through Sonic Bids at www.sonicbids.com/junofest starting Monday, November 16, 2009. The deadline for submissions is Tuesday January 12, 2010 at 11:59 p.m. ET.

A $10 application fee will apply. All applicants must be Canadian residents and 19 years of age or over.

We thank all applicants who apply, but only those selected will be contacted.

Montrłęal, November 20, 2009 - The Board of Trade of Metropolitan Montreal is proud to launch the results of its study entitled Culture in Montrłęal: Economic Impacts and Private Funding. Initiated following the Rendez-vous November 2007 - Montrłęal, Cultural Metropolis, this project draws on concrete data to illustrate the cultural sector's power as a lever of economic development for Montrłęal and synthesizes this data to define how the private sector contributes to culture.

"This study on the economic impacts of Montrłęal's cultural sector arose from our desire to create a better collective understanding of this vital asset for the city. We also wanted a powerful tool that could be reproduced over time. The study was in fact designed to mark the evolution of this highly strategic sector for Montrłęal as well as private sector involvement in terms of funding over the years," declared Michel Leblanc, President and CEO of the Board of Trade of Metropolitan Montreal.

"I am very pleased that the Board of Trade of Metropolitan Montreal has launched this study, which uses facts and figures to paint a portrait of the major role that culture plays in the Greater Montrłęal economy. This document will indeed make a positive contribution to our thinking process on how to prepare the future for the city's various cultural stakeholders," said Christine St-Pierre, Minister of Culture, Communications and the Status of Women.

In light of the study's findings, the Board of Trade has made the following three main observations:1. A dynamic and growing economic sector"Culture is a major generator of jobs, with nearly 100,000 people working in this sector in Greater Montrłęal. This number surpasses the jobs created by the life sciences and aerospace clusters combined. Furthermore, jobs in this sector are growing three times faster than in all other economic sectors, and these cultural jobs have a greater-than-average leverage effect on the creation of indirect jobs," stated Michel Leblanc."Among the economic data worth mentioning is that Montrłęal's cultural sector generates spin-offs totalling $12 billion, including $8 billion in direct spin-offs, which represents 6% of the GDP of the metropolis. That is a huge contribution!" added Michel Leblanc.2. A fragile "creative core""Despite the strength of Montrłęal's cultural sector, as shown by economic data, we must be careful not to become complacent. Montrłęal's 'creative core,' its artistic sector, is fragile. When we look at this sub-sector made up of artists, authors and performers-or those at the heart of Montrłęal's cultural expansion-we see a group that is generally in a precarious position. The income of these workers is half the average salary in Montrłęal and about $20,000 below the average income for the cultural sector," explained Michel Leblanc.3. Notable, but uneven, involvement from the private sector

"The private sector is an important player when it comes to culture. When we looked at data provided by the Conseil des arts de Montrłęal on cultural organizations, we found that private funding accounts for 21% of their budgets. However, the scope of commitments to the arts can vary greatly depending on the size of the cultural organization and its activity sector. This highlights a major issue: how can we promote better collaboration between businesses and cultural organizations? And how do we ensure that the 'creative core' receives even more support? This study both provides evidence of the economic vitality of our cultural sector and represents a call for business people to help this sector flourish. It is now up to us to continue developing reinforcement strategies so that our cultural expansion can develop even more and fully contribute to wealth creation," concluded Michel Leblanc.

Study highlights ĺ─ó In 2008, there were 96,910 direct jobs created in the cultural sector for annual growth of 4.6% in 10 years, or almost three times more than the total labour market average, which was 1.7% over the same period. ĺ─ó The overall annual economic spin-offs (direct and indirect) of Montrłęal's cultural sector have been calculated at $12 billion. The direct contribution to the economy is ĺ─«$7.8 billion, or about 6% of the GDP of the Greater Montrłęal region. ĺ─ó The average salary of artists, authors and performers is $24,400. This job category is the least well paid of the cultural sector at barely more than half (55%) of the average salary in the cultural sector ($44,000). ĺ─ó The 294 artistic organizations that make up the sample analysed by the Conseil des arts de Montrłęal receive 21% of their funding from the private sector, which includes 14% in donations and 7% in sponsorships. This percentage varies greatly depending on the budget and activity sector of the cultural organization.

This study by the Board of Trade of Metropolitan Montreal was carried out thanks to the financial support of the Ministry of Culture, Communications and the Status of Women and the participation of Culture Montrłęal and the Conseil des arts de Montrłęal.

The Board of Trade of Metropolitan Montreal has nearly 7,000 members. Its primary mission is to represent the interests of the business community of Greater Montreal and to provide individuals, merchants, and businesses of all sizes with a variety of specialized services to help them achieve their full potential in terms of innovation, productivity and competitiveness. The Board of Trade is Quebec's leading private economic development organization.

NEC Mourns Death of Violinist Marylou Speaker Churchill, former Principal Second Violin of Boston Symphony

Known for Her Generosity of Spirit, She Taught on Faculties of the College, Preparatory School for 28 Years

Served as Principal Second Violin of Boston Symphony for 23 Years, and Member of Orchestra for 30 Years

New England Conservatory is mourning the death of violinist Marylou Speaker Churchill, member of the College and Preparatory School faculties and wife of Mark Churchill, Dean and Artistic Director of the Preparatory and Continuing Education. Former Principal Second Violin of the Boston Symphony Orchestra, Mrs. Churchill died November 10 at her home surrounded by her loved ones. She was 64.

Brought up in Portland, Oregon, Mrs. Churchill began studying violin at age 7 and became active in youth orchestras by the time she was 10. She came east to Massachusetts when she was 18 to be a fellow at the Tanglewood Music Center. At Tanglewood, she came to the attention of Boston Symphony Orchestra concertmaster Joseph Silverstein and followed him to NEC where she studied with him until receiving her B.M. with honors in 1967. From there, she went to the University of Southern California for graduate work, serving as concertmaster of the university orchestra and first violinist of the resident string quartet. After graduation, she worked as a freelance musician in Los Angeles until receiving an invitation to join the BSO in 1970.

ĺ─˙When I got that letter, I thought, ĺ─˛This is it.ĺ─˘ I never thought of applying to another orchestra. This was the only orchestra I want to play inĺ─Âĺ─¨ she told the Boston Globe in August 2000, as she was retiring after a 30-year career. Mrs. Churchill played as a member of the violin section until 1977 when she was appointed Principal Second Violin of the BSO and Boston Pops. In 1993, she was appointed second violinist of the BSO Chamber Players.

Having returned to Boston to play with the BSO, Mrs. Churchill also returned to NEC, where she joined the Preparatory School faculty in 1981. She served as chair of the Prep string department for 10 years and was known for mentoring some of the schoolĺ─˘s most talented young studentsĺ─ţviolinists like Elizabeth Ann Larson and Ayano Ninomya. Her husband recalled that she maintained a studio of 25ĺ─ţ30 students even as she played full-time in the BSO. "She would start teaching at 8 a.m. on Saturday and go through until 6, have dinner, and then go play a BSO concert," he said. "She would often stop at the Symphony shop and buy chocolate to get her through the concert and when she retired the Symphony shop gave her a huge basket of chocolates."

As part of her work mentoring young orchestra-players-to-be, Mrs. Churchill offered many words of wisdom about the challenges before them. In a 1994 conversation with some New World Symphony players, she talked about the specter of stage fright that many unsuccessful auditioners blamed for their poor showing. "Assuming proper preparation and a good attitude (I have nothing to lose, I don't have the job so I can't lose it), the manifestation of a loss of control is simply fear; fear of not doing as well as you can," she said. Drawing on her deep religious faith, she asserted: "There is a law of this universe which is so simple and so powerful and it literally wipes this fear out of your being, and it is this... 'perfect love casts out fear.' If you are actively engaged in loving your instrument, loving the music, loving the audience, loving the committee, loving your enemies, then there is simply no room for fear of any kind, and you will find yourself playing better than you expected."

Speaking about the work of an orchestra musician, she asked: "Is playing orchestra a joy or a job? It's wise to make it a joyful job, but remember that no job really employs you completely. Working for money is never the real reason for doing any job. You must love what you do, and then you will find happiness and joy in your work. In actuality you are always being employed to express all the best qualities you are capable of, such as intelligence, wisdom, beauty, balance, grace, sensitivity, awareness, love... If you are miserable, it's your own fault. Make excellence, beauty, and truth your goals, and you will rise to that level."

Former Boston Globe Music Critic Richard Dyer, who followed her playing in the BSO for more than two decades, recalled Mrs. Churchill as "a radiant presence in the orchestra." Along with leadership qualities, "she brought musicianship, command of the instrument, perfect intonation, lustrous tone. The range of her imagination was matched only by the intense focus of her concentration on detail. She was a both a wonderful soloist and a wonderful, interactive chamber-music player, and both of these qualities played into her role in the orchestra; she was a team player who elevated the quality of the ensemble."

Upon her retirement from the BSO, Mrs. Churchill increased her teaching commitment as a member of the NEC college faculty, which she had joined in the late 1990s. There, along with studio teaching, she brought her enormous experience as an orchestral player to bear in the Orchestral Repertory class. It was as a member of that class that violinist/violist Julianne Lee ĺ─˘08 M.M. was encouraged to audition for the BSO and was engaged while still a student.

A teaching position at NEC was also responsible for Mrs. Churchill meeting her husband. It was Mark Churchill, a cellist and conductor who ĺ─ýthen as nowĺ─ţdirected the Preparatory School, who recruited her for the job as a violin teacher in 1981. A year later they were married. In 1996, the couple adopted twin eight-month old daughters, Emma Claire and Julia Helen, who came to them from the Marshall Islands in the south Pacific. Both girls are active in the NEC Preparatory School as pianists and string players.

Mrs. Churchill was always much in demand as a teacher and she traveled around the globe coaching and leading masterclasses. She was invited by Sir George Solti to be faculty and Principal Second Violin of the Carnegie Hall Solti Project in 1994, and a year later, he invited her to lead the second violins in the "Musicians of the World" orchestra concert held in Geneva, Switzerland to celebrate the 50th anniversary of the United Nations. She also coached for the New World Symphony Orchestra in Miami Beach, Florida and was a violin coach for the Asian Youth Orchestra in Hong-Kong, youth festivals in New Zealand and the USA, and for Venezuelaĺ─˘s El Sistema.

Her commitment to her students and other young musicians extended to opening her home to a veritable ĺ─˙parade of music studentsĺ─¨ who needed a place to live, according to a 2000 Berkshire Eagle story. This included a Chinese couple she met during the BSOĺ─˘s pioneering tour of China in 1979 and some 80 other ĺ─˙adopteesĺ─¨ from abroad. Other examples are the young Ayano Ninomya who lived in the Churchill household after her parents returned to Japan when she was 11 years old, and Itamar Golan, now a leading collaborative pianist.

Mrs. Churchill's devotion to teaching was honored in 2006 when she received the Louis and Adrienne Krasner Teaching Excellence Award at NEC's Commencement exercises.

"Marylou was absolutely committed to the wellbeing of her students in every sense," said NEC President Tony Woodcock. "She not only concerned herself with their technical command of the instrument but also their musicianship, their sense of responsibility to the art, and their physical and spiritual health. She had a transformative effect on their lives."

Woodcock's thoughts were echoed by Laurence Lesser, President Emeritus of NEC and occupant of the Walter W. Naumburg Chair in Music. "Marylou was my valued friend and colleague from the time we met at USC some 40 years ago. She was then a graduate student and I a very young faculty member, and coaching her in a Brahms Trio was a joyful experience. When I came here in 1974, she was a stalwart of the BSO and already a pillar of the faculty. She was always generous of spirit, warm in friendship and nurturing to all those around her. Her contributions to NEC would fill volumes and she and her husband, Mark (a member of my first class of cellists here), gave selflessly and seemingly endlessly to the institutional home they loved so much."

Funeral arrangements will be private, but the family will welcome students, friends, and colleagues at an open house on Sunday, Nov. 15 from 4 to 8 p.m. at 41 Woodward St. in Newton Highlands. A celebration of Mrs. Churchill's life will take place in the near future. A scholarship fund in her memory will also be established at the Preparatory School. Details will be announced shortly. A Facebook page, created several weeks ago contains the thoughts and tributes of hundreds of Mrs. Churchill's admirers. It can be accessed here:http://www.facebook.com/group.php?gid=171604412417&ref=ts

Recognized nationally and internationally as a leader among music schools, New England Conservatory offers rigorous training in an intimate, nurturing community to 750 undergraduate, graduate, and doctoral music students from around the world. Its faculty of 225 boasts internationally esteemed artist-teachers and scholars. Its alumni go on to fill orchestra chairs, concert hall stages, jazz clubs, recording studios, and arts management positions worldwide. Nearly half of the Boston Symphony Orchestra is composed of NEC trained musicians and faculty.

The oldest independent school of music in the United States, NEC was founded in 1867 by Eben Tourjee. Its curriculum is remarkable for its wide range of styles and traditions. On the college level, it features training in classical, jazz, Contemporary Improvisation, world and early music. Through its Preparatory School, School of Continuing Education, and Community Collaboration Programs, it provides training and performance opportunities for children, pre-college students, adults, and seniors. Through its outreach projects, it allows young musicians to engage with non-traditional audiences in schools, hospitals, and nursing homesĺ─ţthereby bringing pleasure to new listeners and enlarging the universe for classical music and jazz.

NEC presents more than 600 free concerts each year, many of them in Jordan Hall, its world- renowned, 100-year old, beautifully restored concert hall. These programs range from solo recitals to chamber music to orchestral programs to jazz and opera scenes. Every year, NECĺ─˘s opera studies department also presents two fully staged opera productions at the Cutler Majestic Theatre in Boston.

NEC is co-founder and educational partner of ĺ─˙From the Top,ĺ─¨ a weekly radio program that celebrates outstanding young classical musicians from the entire country. With its broadcast home in Jordan Hall, the show is now carried by National Public Radio and is heard on 250 stations throughout the United States.

Shaw Festival 48th Season Closes

Niagara-on-the-Lake, Ontario, November 5, 2009 . . . The Shaw Festivalĺ─˘s 48th season closed on November 1, and Executive Director Colleen Blake today released the attendance results for the 2009 season. With a turbulent 2008 winter, the Shaw Festival began rehearsals in March at 20% behind the year-to-date sales target. However as soon as performances began, sales jumped back, dramatically narrowing the gap. Attendance reached 253,000 or 63.5% of capacity for 800 performances (2008 attendance was 70% of capacity). Box office revenues reached $13.7 million.

In announcing these figures, Ms. Blake noted: ĺ─˙Given the uncertain world economic situation when we went on sale for the 2009 season, we are very pleased with the significant increase once our productions hit the stage and are delighted with our final results.ĺ─¨

The recession impacted The Shawĺ─˘s attendance this season, a result also experienced by our tourism partners throughout the Niagara Region. Funding from the federal and provincial governments to bolster marketing initiatives aimed at key Canadian and U.S. markets proved very helpful, resulting in a boost to attendance numbers in the latter months of the season. The Shawĺ─˘s box office revenues drive an overall economic impact of close to $100 million annually for the Niagara Region.

Artistic Director Jackie Maxwell commented on the artistic highlights of the season: ĺ─˙As we come to the end of what can definitely be called a rollercoaster year, I am so pleased that our audiences responded so strongly to our work, from the ecstatic reception for Born Yesterday, to the huge enthusiasm for The Entertainer and our new Studio Theatre, and of course the interest, national and international, in our Coward Tonight at 8:30 series.ĺ─¨

Tickets for the 2010 season go on sale to Shaw Festival Members on November 7. Sales to the general public begin January 11 by mail, fax and on-line and January 16 by phone or in person. Details are available on the Shaw Festival website, www.shawfest.com, or by calling 1-800-511-SHAW (7429).

Audited financial reports will be available January 29 at The Shawĺ─˘s Annual General Meeting, to be held at the Festival Theatre in Niagara-on-the-Lake.

Pianist Yuja Wang's Sonatas and Etudes Wins The International Piano Awards Best Debut Album of 2009

International Piano magazine has announced that twenty-two year old pianist Yuja Wangĺ─˘s recording Sonatas & Etudes has been selected as the International Piano Awards Best Debut Album of 2009. Now in its fourth year, the 2009 International Piano Awards celebrate the best piano recordings, sheet music, books and DVDs released between October 2008 and November 2009. The complete list of winners will be published in the November/December 2009 issue of International Piano and can be found online at http://www.rhinegold.co.uk and www.international-piano.com.

Yuja Wang is an exclusive artist for Deutsche Grammophon. Her debut album, Sonatas & Etudes, released in the spring of 2009 ĺ─˙suggests a combination of blazing technique and a rare instinct for poetry.ĺ─¨ [Gramophone] The recording includes works by Chopin, Ligeti, Scriabin and Liszt.

ĺ─˙What marks out the playing of Yuja Wang is the mix of superb technique, a remarkable sensitivity and formidable musical intelligence. She traverses a wide repertoire with ease. Still, there is no doubt that there is room for her to grow, and that makes tracking her career all the more exciting.ĺ─¨ said Chloe Cutts, editor of International Piano.

Recognized for playing that combines the spontaneity and fearless imagination of youth with the discipline and precision of a mature artist, Yuja is noted for her authority over the most complex technical demands of the repertoire, the depth of her musical insight, as well as her fresh interpretations and graceful, charismatic stage presence. She has been praised for her controlled, prodigious technique and her command of the piano has been described as ĺ─˙astoundingĺ─¨ and ĺ─˙superhuman.ĺ─¨

Following Yujaĺ─˘s Carnegie Hall debut performing with the Philadelphia Orchestra led by Charles Dutoit earlier this season, The New York Times wrote ĺ─˙the eveningĺ─˘s most breathtaking moments were provided by the pianist Yuja Wangĺ─ÂShe seems to have everything: speed, flexibility, pianistic thunder and interpretive nuance.ĺ─¨ This season Yuja will also make her Kimmel Center recital debut, appear as soloist with the Shanghai Symphony Orchestra and Russian National Orchestra during their U.S. tours, and perform with the Indianapolis Symphony, the San Francisco Symphony, and the New World Symphony. She will also perform the world premiere of Jennifer Higdonĺ─˘s piano concerto with the National Symphony Orchestra led by Andrew Litton and give recitals in San Francisco, Vancouver, Detroit, and Washington DC, among other cities. Yuja was also recently name the named the Classic FM Gramophone Awards 2009 Young Artist of the Year.

COC's 2009/10 Fall Run Closes with 99.6% Attendance

Toronto, Ontario ĺ─ý The Canadian Opera Company is proud to announce that the fall run of its 2009/10 Diamond Anniversary season, Madama Butterfly and The Nightingale and Other Short Fables, closed to 99.6% capacity. A total of 22 of the total 24 performances in the fall run played to 100% capacity with over 49,000 people attending. Madama Butterfly ran for 15 performances and the world premiere of The Nightingale and Other Short Fables ran for nine performances ĺ─ý one more than originally scheduled due to an unprecedented demand for tickets. This statistic continues a sustained series of record attendance numbers for the COC, averaging at least 99% since the opening of the Four Seasons Centre for the Performing Arts in 2006.

The COCĺ─˘s Madama Butterfly will air on CBC Radio 2ĺ─˘s Saturday Afternoon at the Opera on November 28, 2009; The Nightingale and Other Short Fables will air on December 5, 2009. Concerts on Demand and future broadcast dates are yet to be confirmed.

The COCĺ─˘s Diamond Anniversary season continues in January with Georges Bizetĺ─˘s popular Carmen, opening January 27, 2010 and running for 12 performances, and Giuseppe Verdiĺ─˘s powerful Otello, opening on February 3, 2010 with nine performances. Single tickets for the winter run go on sale Monday, November 16, 2009 and can be purchased online at coc.ca, by calling 416-363-8231, or in person at the Four Seasons Centre Box Office (145 Queen St. W., Toronto).ĺ─«COC Fall Run Ticket Facts and Figures:

Čů 124,000: number of Madama Butterfly tickets sold since this production was first staged in 1990

Čů 30,117: number of Madama Butterfly tickets sold for the 2009/10 seasonČ▀ 30,780: highest number of tickets sold for a single COC production (Carmen in 1990)ĺ─«Čů 575: record number of single-day calls fielded by the COCĺ─˘s Box Office following The Nightingale and Other Short Fables opening night reviewsČ▀ 505: previous single-day call record (2007/08 fall season single-ticket onsale)ĺ─«Čů 24: number of hours it took for the October 20 performance of The Nightingale and Other Short Fables to sell-out following the opening night reviews

The world premiere of The Nightingale and Other Short Fables was a technically challenging production which incorporated singers, acrobats, and Asian puppetry, dramatically transforming the conventional theatre landscape. It featured the COC Orchestra and conductors Jonathan Darlington and Jayce Ogren (November 2 and 5) on stage with the singers performing and manipulating puppets in the orchestra pit which was filled with 67 tonnes of water.

Fall Run Production Facts and Figures:

Čů 21: number of set changeovers between Madama Butterfly and The Nightingale and Other Short FablesČů 32: number of crew members to changeover the set from Madama Butterfly to The Nightingale and Other Short FablesČů 4: average number of hours to changeover from Madama Butterfly to The Nightingale and Other Short Fables and vice-versaČů 75: minutes to fill the pool for The Nightingale and Other Short FablesČů 80: minutes to drain the pool for The Nightingale and Other Short Fables

Production Sponsor of Madama Butterfly: RBC Financial Groupĺ─«ĺ─«The Nightingale and Other Short Fables and the additional performances of Madama Butterfly have been financially assisted by the Ontario Cultural Attractions Fund of the Government of Ontario through the Ministry of Culture, administered by the Ontario Cultural Attractions Fund Corporation.

The Nightingale and Other Short Fables has been generously underwritten in part by The Catherine and Maxwell Meighen Foundation.

Carmen Production Co-sponsors: CIBC and CIBC Mellonĺ─«Otello Production Sponsor: National Bank Financial Group

Broadcast Partner: CBC Radio 2

About the Canadian Opera Companyĺ─«Based in Toronto, the Canadian Opera Company is the largest producer of opera in Canada and fifth largest in North America, and celebrates its 60th anniversary in 2009/10. Under its new leadership of General Director Alexander Neef and Music Director Johannes Debus, the COC continues its international reputation for artistic excellence and creative innovation. The COC currently enjoys a remarkable 99% attendance rate and one of the highest subscription rates in North America. The COC performs in its new opera house, the Four Seasons Centre for the Performing Arts, designed by Diamond and Schmitt Architects Inc. From its inauguration in 2006, the Four Seasons Centre has been internationally hailed as one of the finest opera houses in the world.

The Four Seasons Centre is also the performance venue for The National Ballet of Canada. ĺ─«

Indianapolis Symphony Orchestra Held Annual Meeting on Nov. 16

Indianapolis Symphony Orchestra re-caps artistic highlights of its 2008-2009 season which includes several world premieres in both classical and pops series

ISOĺ─˘s Marsh Symphony on the Prairie posts all-time attendance record

ISOĺ─˘s Learning Community reaches 123,000 people of all ages through a wide range of programs including the newly-adopted Metropolitan Youth Orchestra; MYO students perform at Annual Meeting

ISO releases financial data and makes commitment to endowment fundraising, earned revenue and controlling operational expenses for the next several years

Indiana Symphony Society elects new members to its Board of Directors

INDIANAPOLISĺ─ţThe Indiana Symphony Society held its 2009 Annual Meeting on Monday, Nov. 16, at the Hilbert Circle Theatre and highlighted the Indianapolis Symphony Orchestraĺ─˘s artistic achievements, outreach into the classroom and community, its successes with several sell-out performances, and its commitment to attracting new audiences to concerts and programs during the Orchestraĺ─˘s 2008-2009 season.

ĺ─˙The Indianapolis Symphony Orchestra is an organization that pursues incredibly high artistic ideals, embraces the needs of the 21st century audience and understands and steps up to meet the key issues of the city,ĺ─¨ said Simon Crookall, President and CEO of the Indianapolis Symphony Orchestra. ĺ─˙Although this has been a challenging year for us financially, we have tremendous optimism about our future.ĺ─¨

During the 2008-09 season, the ISO performed nearly 200 classical, pops, family and special concerts at the Hilbert Circle Theatre and at Marsh Symphony on the Prairie and at other locations throughout the central Indiana community. The ISO recorded a total attendance of more than 350,000. Highlights of the year included:

ĺ─ó World premieres featuring composer Jennifer Higdonĺ─˘s Violin Concerto written for Hilary Hahn; composer Gabriela Lena Frankĺ─˘s Peregrinos (Pilgrims) which brought to life the stories of Indianapolisĺ─˘ Hispanic community; and the production Irving Berlin: From Ragtime to Ritzes as part of the Symphonic Pops Consortium founded by the ISOĺ─˘s Principal Pops Conductor, Jack Everly.

ĺ─ó Collaborations with Dance Kaleidoscope for Rimsky-Korsakovĺ─˘s Scheherazade and the critically-acclaimed production of Wagnerĺ─˘s Das Rheingold with the Indianapolis Opera.

ĺ─ó The Metropolitan Youth Orchestraĺ─˘s (MYO) adoption into the ISOĺ─˘s Learning Community department. Led by founder Betty Perry, the MYO provides children with reduced-tuition music instruction and ensemble performance opportunities. The Learning Community also provides educational programs that specifically address state-mandated standards in the arts and other curricular areas and plans concerts, master classes, events and other educational programs that reached approximately 123,000 people this season.

ĺ─ó More than 40,000 patrons for the annual Duke Energy Yuletide Celebration, which featured Tony Award-nominated singer and songwriter Ann Hampton Callaway and special guests Daniel Okulitch and the Capitol Quartet.

ĺ─ó A new all-time attendance record of 107,281 for its Marsh Symphony on the Prairie season, exceeding the previous mark of 107,245 set in 1999.

ĺ─ó In August, the ISO became one of only four orchestras in the country with its own iPhone application, which offers free and inexpensive downloadable music and information from the Symphony. The ISO also has the most extensive digital music library of any orchestra available through InstantEncore.com.

The Society announced financial data for the 2008-2009 fiscal year ending Aug. 31, 2009. Crookall reported that fiscal year 2009 expenses exceeded revenue by $2.8 million on a budget of $28.3 million. Income was lower than the previous year in all categories, particularly from the ISO Foundation and from large, one-time gifts. However, through a series of cost-cutting measures affecting operational and department expenses, total expenditure was down from the previous year. More cuts in expenses, including a new agreement with the ISO musicians that represents $4 million in savings over the next three years, and salary cuts for ISO staff, were put in place in the beginning of this fiscal year. The endowmentĺ─˘s balance as of Aug. 31, 2009 was $85 million (down from $110 million in 2008). Since 2003, the ISOĺ─˘s endowment draw amount has remained flat.

ĺ─˙Now more than ever, our financial future is reliant on companies and individuals buying tickets, sponsoring performances and supporting our activities,ĺ─¨ said Crookall. ĺ─˙Moving forward, the ISO staff and musicians have already made significant contributions back to the organization through salary reductions. The next phase will be growing our endowment for long-term stability, growing our audience base and being good stewards of the generous support we currently receive by controlling expenses.ĺ─¨

ĺ─˙We have this valuable inspirational asset called the Indianapolis Symphony Orchestra, which adds so much to Indianaĺ─˘s cultural and economic climate,ĺ─¨ said Robert Kaspar, outgoing chairman of the ISO Board of Directors. ĺ─˙Even under these extraordinary economic challenges, management is making prudent business decisions now to address a new financial reality. Additional support from the community will be necessary in both annual gifts as well as significant contributions to its foundation to stabilize the ISOĺ─˘s short term financial situation. The next two years will be critical in making progress.ĺ─¨

The Society also recognized first violin Vladimir Krakovich and Vice President and General Manager Thomas R. Ramsey for 25 years of distinguished service and presented the ĺ─˙Outstanding Staff Awardĺ─¨ to Joanne Bennett, Director of Facilities and Audience Services, for extraordinary service to the ISO.

Erik Ryan appointed Chairman of the board of directors of theĺ─«Board of Trade of Metropolitan Montreal for 2009-2010

Montrłęal, November 4, 2009 - At the Board of Trade of Metropolitan Montreal's annual assembly, which was held today, members elected their board of directors for 2009-2010. Mr. Erik Ryan, Senior Vice-President, Communications and External Relations, of Rio Tinto Alcan, was appointed Chairman of the board of directors for a one-year term. He succeeds Rłęmi Racine, President and CEO of A2M, who became the Retiring Chairman.

"Our role at the Board of Trade is to ensure that Montrłęal has the best conditions for business. In the current environment, we will do everything we can to enable the greater metropolitan region to fully benefit from the economic recovery that is already visible on the horizon. We are working non-stop so that Montrłęal can enjoy a true surge of prosperity," stated Erik Ryan, new Chairman of the board of directors of the Board of Trade of Metropolitan Montreal.

Erik Ryan holds a B. Eng. in Mechanical Engineering from McGill University (1987) and an MBA from the Harvard Business School (1995).

Mr. Ryan joins Alcan Inc. in September 2002 as Director, Strategic Management Support. He is part of the Pechiney acquisition team, and is later co-leader of the Alcan-Pechiney Integration Leadership Team in Paris. In the fall of 2004, he becomes Vice-President, Strategy and Business Development, for Alcan Packaging Global Beauty sector. In January 2005, Mr. Ryan is appointed Vice-President, Corporate Affairs and Communications, for Alcan Primary Metal Group. In 2007, Regional Industrial Diversification and an aerospace and nuclear alloys casting plant are added to his responsibilities, as he becomes Vice-President, Stakeholder Relations and Communications.

Erik Ryan first became involved with the Board of Trade in 2002 through the strategic analysis committee on economic development before joining the board of directors and then, its executive committee.

Prior to joining Rio Tinto Alcan, Mr. Ryan was Secretary General of the Sommet de Montrłęal 2002, in charge of designing and conducting this foundational event created to identify the strategic priorities and initiatives critical to the new City of Montrłęal.

Between 1995 and 2001, following his studies in Boston, Mr. Ryan worked as a consultant for Monitor Company, a Boston consultancy. Between 1995 and 1997, he headed its Paris office. Between 1989 and 1993, he was political advisor to Głęrald Tremblay, then Minister of Industry, Trade, and Technology. At that time, Mr. Ryan contributed to the design and deployment of the industrial cluster strategy, and to negotiating the social contract.

As Chairman of the board of directors of the Board of Trade, Erik Ryan will be involved in the Board of Trade's activities during the current year, and also as Retiring Chairman the following year. Over this entire period, Mr. Ryan will sit on the Board of Trade's executive committee.

The 2009-2010 board of directors is composed of the following members:

Sylvain Vincent*Managing Partner, Eastern Canada and Member of Canadian Executive CommitteeErnst & Young LLP

* Member of the executive committee

Biographies and photos of the members of the board of directors can be found on the Board of Trade's Website.

The Board of Trade of Metropolitan Montreal has some 7,000 members. Its primary mission is to represent the interests of the business community of Greater Montrłęal and to provide individuals, merchants, and local businesses of all sizes with a variety of specialized services to help them achieve their full potential in terms of innovation, productivity and competitiveness. The Board of Trade is Quebec's leading private economic development organization.

Suburban Hotel held over - - - 3 exłęcutions additionnelles

For those who missed some of Tableau D'Hłąte Theatre's 6-play series Suburban Motel, there will be one more showing of each duo.Dates prolongłęes pour Suburban Motel presentłę par Thłęłótre Tableau D'Hłąte.

Montreal, November 3, 2009 ĺ─ý A new award has been created to promote the diversity of artistic expressions in Montreal: the Diversity Award. Five partners, the Conseil des arts de Montrłęal, CBC Radio 2, MAI (Montrłęal, arts interculturels), Place des Arts, and Vision Diversitłę have come together to offer this award to an artist or artistsĺ─˘ collective from Montrealĺ─˘s cultural diversity working in the world-music sector. Over the course of a one-year circuit, the winner will benefit from the partnersĺ─˘ help and support in the areas of creation, production, dissemination, and touring.

Thanks to this artistic circuit, the winner will enjoy two creative residencies and have several opportunities to present his or her artistic work to audiences at MAI and Place des Arts, in collaboration with Vision Diversitłę, as well as throughout Montreal neighborhoods, as part of Conseil des arts de Montrłęal en tournłęe. The Prix de la diversitłę also includes a radio taping by CBC Radio 2, the official broadcaster, which will make the podcast available on its website. All of this will be covered by a joint promotion. The estimated value of the award is $25,000.The objective of the Diversity Award is to promote a promising professional artist or artistsĺ─˘ collective, still unknown within the arts milieu and by the Montreal public, whose practice reflects a diversity of artistic expressions. With this award, the Conseil des arts de Montrłęal and its partners wish to encourage the full participation of all artists in the cityĺ─˘s artistic life and give a boost to their professional career. Furthermore, this award can help diversify audiences in Montrealĺ─˘s various presentation venues.

A jury, formed by a representative of the each of the five partners, will evaluate the submissionsĺ─˘ artistic excellence and merit, quality of previous productions, interest of the artistic proposal (originality and innovation), dissemination potential, and authenticity of the musical approach, among others. The winner will be announced on March 23, 2010, during the Grand Prix du Conseil des arts de Montrłęal luncheon.

MONTREAL November 2009 ĺ─ý The Segal Centre for Performing Arts and KPMG are proud to present EDUCATING RITA, the hilarious and clever comedy by award-winning playwright Willy Russell.

Directed by Marcia Kash, the Segal production stars Carly Street and Ric Reid.

"The special chemistry and briskly-paced comedic repartee between these two extraordinary actors will have you smiling all through the play," said Bryna Wasserman, Artistic and Executive Director of the Segal Centre.

Ric Reid plays Frank Bryant, a failed writer and disillusioned literature professor who views his students as appallingly boring and lacking in originality. The cynical middle-age academic would rather spend time drinking scotch at the local pub than teach at the lectern.

Enter Rita, played by Carly Street - a brash, twenty-six year old hairdresser from Liverpool who is determined to get an education and shed her working-class image. Her real name is Susan, but she wants to appear more sophisticated so she calls herself Rita after feminist writer Rita Mae Brown. Rita thinks Brown is a brilliant writer but Frank has never heard of her.

At first, Frank grudgingly accepts to tutor this uneducated and feisty Liverpudlian, but in time her passion for learning intrigues and enchants him.

"Director Marcia Kash knows the Rita character intimately," adds Bryna Wasserman. Did you know that she was the first actor in Canada to play Rita, and played the role several times across the country? Her unique and valuable experience also makes her the perfect Liverpudlian voice coach".

Marcia Kash feels the character of Rita influenced her in subtly different ways every time she played her, and she carries parts of Rita within her to this day.

"Returning to the play now, after so many years, much has changed in the world, and in my life. But Rita is still relevant. And the classic Pygmalion story is as winsome as it ever was. I look forward to the new discoveries we will find working on this play and I'm sure, together with the considerable talents of Carly Street and Ric Reid, and a fabulous creative team, we will be inspired to make interesting and inventive choices".

Set and costumes are by John C. Dinning and lighting is by Spike Lyne. Merissa Tordjman is the stage manager.

Educating Rita is partially autobiographical. British playwright Willy Russell grew up in a working class family in Liverpool and became a hairdresser. He eventually returned to college and started writing drama, which opened up a world of new possibilities and brought him international success.

As usual following the play, some of the actors and/or designers will remain on stage to take questions from the audience. Monday Night Talkbacks provides an intimate opportunity for audiences to engage up close and personal with the personalities bringing first class professional English language theatre to Montreal.

Building audiences for the future

Everyone knows the importance of creating and fostering new theatre audiences. To this end, the Segal Centre is offering substantial savings for those under 30, providing an opportunity for full-time college and university students and young professionals to experience high quality theatre at an affordable price.

Sunday, November 22, 2009

Winners of the 70th edition of the OSM Standard Life Competition

PRESS RELEASE

For immediate distribution

The OSM reveals the identities of the winners of the 70th edition
of the OSM Standard Life Competition(piano and percussion)

Montreal, November 21, 2009 ĺ─ý The winner of the OSM Standard Life Grand Prize is Jan Lisiecki, pianist from Alberta, born in 1995. The 70th edition of the OSM Standard Life Competition wound up after four days of auditions (semi-finals and finals) in Tanna Schulich Recital Hall at McGill Universityĺ─˘s Schulich School of Music. Twenty-one (21) competitors took part in the semi-finals of the Competition, this year devoted to piano and percussion.

The jury chairman and judge (semifinals, finals - piano and percussion) was Henry Fogel. Mr Fogel is Dean of the Chicago College of Performing Arts at Roosevelt University as of July 2009, President and CEO of the American Symphony Orchestra League from 2003 to 2008, and President and CEO of the Chicago Symphony Orchestra from 1985 to 2003. "The 70th OSM Standard Life Competition was an extraordinary and thrilling event to be part of. The musical quality was exceedingly high, the world class jury was a model of what a competition jury should be, and the Orchestre symphonique de Montreal's staff and volunteers did a fabulous job in organizing it. It has been a privilege for me to be a part of it" said Henry Fogel.

The jury for the semi-finals in the piano category was made up of Michel Błęroff, concert pianist and Professor at the Paris Conservatoire national supłęrieur de musique et de danse, and Robert McDonald, Professor at The Juilliard School of Music in New York. In the percussion category, it was made up of Louis Charbonneau, Principal Timpani with the OSM from 1950 to 1998, and Emmanuel Słęjournłę, percussionist and Head of Percussion Department of the Strasbourg Conservatoire.

For the finals, the following judges joined the semi finalsĺ─˘ jury: Earl Blackburn, Senior Vice-President and Agent with Opus 3 Artists, and Walter Homburger, Artist Manager since 1947 and General Director of the Toronto Symphony Orchestra from 1962 to 1987.

The jury for the preliminary round, in the piano category, consisted of Lise Boucher, pianist and Head of the competition Prix d'Europe, Stłęphane Lemelin, concert pianist, Professor and Chair of the School of Music at Ottawa University, and member of Trio Hochelaga, and Natalie Pepin, pianist and Professor Emeritus at Universitłę de Montrłęal. In the percussion category, it was made up of Ian Bernard, Principal Timpani at the National Arts Centre Orchestra in Ottawa, Serge Desgagnłęs, Principal Percussion with the OSM, and Carol Lemieux, percussionist and Director of the Conservatoire de musique de Qułębec.

THE RESULTS

OSM Standard Life GRAND PRIZE

The winner of the OSM Standard Life Grand Prize is Jan Lisiecki, pianist from Alberta born in 1995. This prize is awarded to one of the first-prize winners (piano and percussion) who made the strongest impression during the Competition.

In addition to receiving a $10,000 scholarship offered by Standard Life, the winner will perform in aconcert with the OSM, under the direction of Roberto Minczuk, on January 12, 2010 in Salle Wilfrid-Pelletier at Place des Arts, as part of the OSM 2009-2010 Season. The Grand Prize OSM Standard Life also include:

The Espace musique Prize: a professional recording in one of the CBC studios

A recital at the Northern Arts and Cultural Centre in Yellowknife, Northwest Territories, as part of the 2010-2011 NACC season

A concert with the Newfoundland Symphony Orchestra in St. Johnĺ─˘s, Newfoundland, as part of the 2010-2011 NSO season

The Orford Arts Centre Prize: a recital at the Orford Arts Centre presented in 2010

The first prizes

A $10,000 Standard Life Scholarship, awarded in each of the three categories

The Paul Merkelo scholarship: open to all participants and awarded by a jury chaired by Paul Merkelo, principal trumpet of the OSM, the $2,000 scholarship aims at encouraging musical excellence and providing relevant financial assistance to a candidate's proposed training program

The Domaine Forget Prize: one scholarship covering tuition and accommodation for a two-week music session within the framework of the Rencontres de musique nouvelle en Charlevoix, at the Domaine Forget in 2010

The winner is: Noam Bierstone, (percussion), Ontario, (19 years old)

The Orford Arts Centre Prize: three scholarships covering tuition and accommodation for a two-week music session at the Orford Arts Centre, in 2010

The Orchestre symphonique de Montrłęal congratulates all the winners and thanks the partners who made it possible to stage this competition. Sponsored for 18 years by the Standard Life Assurance Company of Canada, the OSM Standard Life Competition, this year under the presidency of Mr.Jean łÔlie, is a Canada-wide competition offering $100,000 in prizes and scholarships.

About Standard Life

Standard Life is an important Scottish asset-management group that carries out its activities around the world, including in Canada for more than 175 years. Today it specializes in investment products for retirement and in insurance for individuals and for companies. With 2,000 employees based in Montreal and across Canada, the Canadian operation is Standard Lifeĺ─˘s largest outside the U.K.

Chez Nous: Christmas with Elektra is your invitation into the season as the choir celebrates the approaching holidays with music ranging from ancient carols to brand new commissions from Ed Henderson and Tim Corlis.

The featured work is William Mathias' lyrical setting of Salvator Mundi, a Christmas carol sequence based on seven carols from the 15th - 17th centuries. Mathias was considered one of the greatest of Welsh composers, whose technical sophistication never got in the way of his love of lyrical vocal lines and the sense of text, occasion and emotional spirit of his music. Salvator Mundi calls for "piano 4 hands" and we are honoured to welcome the VSO's Maestro, Bramwell Tovey, to share the piano bench with Elektra's own Stephen Smith.

Artistic Director, Morna Edmundson, has gathered some of Vancouver's top musicians to join in the festivities and share their musical gifts. Elektra is pleased to welcome composer and guitarist, Ed Henderson, Jodi Proznick on acoustic bass, and Zing! Children's Choir directed by Lisa Reimer to Chez Nous: Christmas with Elektra.

Expect familiar carols to sing along with, new favourites, seasonal readings and treats for the kids, and of course, the brilliant singing of Elektra to help launch your holiday preparations!

Elektra gratefully acknowledges the ongoing support of the Canada Council for the Arts, City of Vancouver, Government of British Columbia, CBC, LadnerBordenGervais, PriceWaterhouseCoopers, Martha Lou Henley Charitable Foundation, Hamber Foundation, and Wolrige Foundation. Elektra also thanks its many generous individual donors and volunteers - their support makes us sing.

A Traditional Christmas with the VSO

Vancouver BC ĺ─ý What better way to get into the festive spirit than by attending Metro Vancouverĺ─˘s most beloved Holiday Music Tradition? Join VSO Assistant Conductor Evan Mitchell as he returns to lead the Orchestra in a celebration of Christmas, with carols, sing-a-longs, and selections from Handelĺ─˘s Messiah, Tchaikovskyĺ─˘s Nutcracker, and other Holiday favourites. Vancouverĺ─˘s very own Bard, Christopher Gaze, narrates, while two superb choirs, EnChor and UBC Opera Ensemble, provide accompaniment.

Christmas comes alive in fourteen performances that take place in six different communities across Metro Vancouver, including St. Andrewĺ─˘s Wesley Church in downtown Vancouver and venues in Burnaby (Michael J. Fox Theatre), South Delta (South Delta Baptist Church), Surrey (Bell Performing Arts Centre), North Vancouver (Centennial Theatre) and West Vancouver (Kay Meek Theatre).

The VSOĺ─˘s Traditional Christmas concerts have been a mainstay of the holiday season for several years and never fail to fill audiences with the joy of the season! Both afternoon and evening performances will be offered, which make wonderful gifts for family, friends, coworkers, and clients alike. Donĺ─˘t miss this opportunity to experience the true spirit of Christmas - tickets sell out very quickly, so get yours today!

Tickets are $34 (Student, Senior and Subscriber discounts available) and available by phone at 604.876.3434 or online at www.vancouversymphony.ca

PARSONS DANCEĺ─«presentsĺ─«REMEMBER MEĺ─«an all-new version of the dance/rock operaĺ─«with the lead vocalists and music of theĺ─«Grammy Award-nominatedĺ─«EAST VILLAGE OPERA COMPANYĺ─«The Joyce Theater, February 2 - 14, 2010

Parsons Dance presents REMEMBER ME, an all-new version of last season's collaboration with the lead vocalists of East Village Opera Company (EVOC), featuring the music of the acclaimed rock opera band at The Joyce Theater from February 2-14, 2010. Following last season's World Premiere at The Joyce Theater, a PBS Special and a year-long national tour, REMEMBER ME returns to NYC with new choreography, lighting design by Tony Award-winning designer Howell Binkley and costume design by Project Runway designer Austin Scarlett. Program A features REMEMBER ME with EVOC's two lead vocalists live onstage with Parsons Dance. Program B will feature Parsons Dance favorites including the stroboscopic Caught.

David Parsons, Tyley Ross (lead male vocalist and co-founder of EVOC) and AnnMarie Milazzo (lead female vocalist) have created a storyline that connects EVOC's signature operatic arias (fourteen songs from the band's albums) with David Parsons' original choreography. REMEMBER ME is a thoroughly modern re-telling of a classic story of a tragic love triangle. With contemporary dance, aerial dance, live and recorded music, video projections, complex digital lighting and visual effects, REMEMBER ME is the most ambitious production created by Parsons Dance in its 22 year history.

"After completing our first national tour of Remember Me, we are thrilled to bring this show back to New York audiences, in a completely revamped version," said David Parsons, artistic director of Parsons Dance.

EVOC's signature works re-imagine opera arias as popular songs, including pieces by Verdi, Puccini, Mozart and Schubert. These classics collide with electric sounds from the golden era of rock and roll, pop, R&B, and soul, exploding into a mosaic of sound in a triumphant musical celebration. They have received commissions to pen new works from both the New York Public Theatre and New York City Opera, with whom they have also performed at Lincoln Center. EVOC alternately headlines in prestigious classical concert halls and rock clubs, and records exclusively for Decca/Universal records. They have released three CD's. "Pop-infused, hard-hitting arrangements of arias and ensembles from classic operas. The group has won fans among both opera buffs and rockers."- The New York Times

Parsons Dance creates American works of extraordinary artistry that are engaging and uplifting to audiences throughout the world. It is the goal of Parsons Dance to make contemporary dance accessible to the widest possible audiences. In addition to choreography and performance, Parsons Dance positively impacts children, students, and communities through student performances, lecture-demonstrations, master classes, post-show discussions and more. Parsons Dance has a company of eleven full-time dancers and maintains a repertory of more than 70 works choreographed by David Parsons, twenty of which feature originally commissioned scores by leading composers and musicians, including Dave Matthews, Michael Gordon and Milton Nascimento. Parsons Dance has collaborated with many other leading artists, including Julie Taymor, William Ivey Long, Annie Leibovitz, Donna Karan and Alex Katz (to name a few). The New York Times called David Parsons "one of the great movers of modern dance." New York Magazine referred to him as "one of modern dance's great living dance-makers."

Caught (1981) is an internationally renowned stroboscopic dance masterpiece that features a solo dancer performing more than 100 leaps in less than six minutes. Each leap is "caught" by the flash of a strobe light, to create a breathtaking illusion of flight. Caught has been performed thousands of times, worldwide, for more than 27 years. Hand Dance (2003), a playful work set to the vibrant music of Kenji Bunch, features ten "hands" that decide to take on a life of their own. Through gesture and mime, five dancers offer "an endless variety of imaginative evocations, from grasping and forming pistons of a locomotive to playing air cello." Imaginative and fun, Hand Dance leaves audiences laughing and begging for more. A relentless display of movement, Wolfgang (2005) juxtaposes the classical music of Mozart with the modern choreography of David Parsons. This piece highlights the dancers' technique and musicality, while underscoring their ability to make the constant motion seem effortless and fluid. Sleep Study (1987), a delightfully charming crowd-pleaser, translates common, universal movements into clever choreography. Audience-goers of all ages can easily recognize and identify with the familiar bedtime stirring that David Parsons has cleverly infused with humor, creating a true slumber party. In Scrutiny (1987), David Parsons explores the societal pressures to conform. This work premiered with the Parsons Dance Company on August 25, 1987 in Beckett, Mass. as part of Jacob's Pillow. It received a land grant from Jacob's Pillow.

Parsons Dance will perform February 2-14, 2010 at The Joyce Theater, with performances Tuesday, Wednesday, Sunday at 7:30pm; Thursday - Saturday at 8pm; and Saturday and Sunday at 2pm. The Joyce Theater is located at 175 Eighth Avenue (at 19th Street), NYC. Tickets start at$10 and are available by phone at 212-242-0800 or joyce.org.

Parsons Dance is committed to building new audiences for contemporary dance by creating American works of extraordinary artistry that are engaging and uplifting to audiences throughout the world. The company tours regionally, nationally and internationally. Since 1985, Parsons Dance has toured an average of 32 weeks per year, to a total more than 235 cities, 30 countries, six continents and millions of audience members. Many others have seen Parsons Dance on PBS, Bravo, A&E Network, and the Discovery Channel. Millions watched Parsons Dance perform live in Times Square as part of the internationally broadcast, 24-hour Millennium New Year's Eve celebration. In New York City, Parsons Dance has been featured at The Joyce Theater, City Center, New Victory Theater, Central Park Summerstage, Guggenheim Museum, Metropolitan Museum of Art and The World Trade Center.

David Parsons (Artistic Director/Founder) has enjoyed a remarkable career as a performer, choreographer, teacher, director and producer of dance. Mr. Parsons was born in Chicago and raised in Kansas City. He was a leading dancer with The Paul Taylor Dance Company, where Mr. Taylor created many roles for him in works such as Arden Court, Last Look and Roses. He is a recipient of the 2000 Dance Magazine Award, as well as the 2001 American Choreography Award, for his work as a co-producer of AEROS, a production featuring the Romanian Gymnastic Federation that was featured on Bravo. Mr. Parsons has created more than 70 works for Parsons Dance. He has received commissions over the years from The American Ballet Theatre, New York City Ballet, Alvin Ailey American Dance Theater, the American Dance Festival, Jacob's Pillow, the Spoleto Festival and Het Muziektheater in Amsterdam, to name a few. His work has been performed by Paris Opera Ballet, Joffrey Ballet, Nederlands Danse Theatre, National Ballet of Canada, Hubbard Street Dance and BatSheva Dance Company of Israel, among many others. In June 2007, Mr. Parsons was honored to be the very first contemporary choreographer ever to stage work at the centuries-old Arena di Verona, in Verona Italy, where he choreographed Verdi's Aida. The Arena is one of Italy's most respected operatic venues. In September 2007, he directed and choreographed Gotham Chamber Opera's production of Marłéa de Buenos Aires, which made its world premiere at a sold-out engagement in New York, at NYU's Skirball Center for the Arts.

East Village Opera Company was formed in New York City's East Village in 2004 by Canadians Peter Kiesewalter and Tyley Ross. The East Village Opera Company turned the heads of New York's music community with a series of electric genre defying shows at Joe's Pub, the intimate venue housed by the Public Theatre. Initially meant as a one-off project, they were quickly signed to Decca/Universal records and met with universal praise from both classical and rock critics and fans. The Washington Post proclaimed that "Opera crossover acts are becoming a veritable cottage industry, but the East Village Opera Co. is markedly different." They have toured the world with a unique live show, combining a seemingly incongruous classical string section with a powerhouse rock band. Time Out New York stated that the group "electrifies the classics for a new generation." The Associated Press mused the band was "dramatic" and "mesmerizing" while the Wall Street Journal agreed, noting "The band rocks hard, and deranges the opera stuff with savvy skill." In a rare feat not many artists can claim, EVOC headlines around the world in both eclectic rock clubs as well as some of the most prestigious classical concert halls. The band's appeal is evident in both cases. The Chicago Tribune raved "Nobody puts a fresher, friskier contemporary spin on opera's greatest hits than the East Village Opera Company." The band has also performed at esteemed events such as the Sundance Film Festival, the Miss USA pageant (nationally televised on NBC), and the world-premiere of "The Da Vinci Code" in Hong Kong. EVOC's PBS Special "EVOC LIVE" was celebrated with an Emmy at the 2006 Emmy Awards. Their most recent Decca album entitled Olde School was nominated for a Grammy in the Classical Crossover Album category.

Tyley Ross (Male Vocalist / EVOC co-founder) A native of Ottawa Canada, Tyley started performing professionally in his early teens while still a student at Canterbury's school of the Arts. In the years since then, has been a street busker, a cartoon and voice artist, acted for the small and large screen, written and recorded two solo albums (his composition You Take My Breath Away was featured in the film Woman Wanted directed by Kiefer Sutherland and starring Holly Hunter), and he has performed as a guest soloist with orchestras across Canada and in the USA. After being discovered by Pete Townshend of The Who in 1994, Tyley was cast in the title role of the Canadian premiere of the Who's Tommy. For his work in that show, he was honored with the Dora Award for Outstanding Performance in a Musical. He spent the next ten years on musical stages across North America, including starring roles at the Shaw and Stratford Festivals, and on Broadway. In 2001, Tyley was introduced to Peter Kiesewalter and they began experimenting with recording opera arias in a variety of modern contexts. This project led to the release of the CD La Donna and the unveiling of the East Village Opera Company in 2004 with a series of acclaimed performances at New York's Joe's Pub. Within a year the band had signed a multi-record deal with Decca/Universal, and has since released two CD's: East Village Opera Company (2005) and Olde School (2008). Tyley has his master's degree in voice studies from London's Central School of Speech and Drama.

AnnMarie Milazzo (Female Vocalist) is a singer, arranger, composer and lyricist living in NYC. She has done the vocal arrangements for Spring Awakening, the Broadway musical at the Eugene O'Neill Theater; Next To Normal, which premiered Off Broadway at Second Stage Theatre; Bright Lights, Big City at New York Theatre Workshop; and the Paramount feature film "The Marc Pease Experience" starring Ben Stiller. Some of her most recent work includes a new musical Pretty Dead Girl, which premiered at The Sundance Film Festival and is now being produced by the Araca Group in New York City, book by David Henry Wang. Also currently in progress is the musical Sea Change based on the Lois Gould novel, book by Karen Hartman. AnnMarie is the lyricist for Franco Dragone's Carmen, which premiered at The Jolla Playhouse and will open in Madrid, 2009. She is currently writing lyrics for Cirque du Soleil's, Le Reve, at the Wynn Hotel in Las Vegas. AnnMarie's singing credits include working with artists such as Angelique Kidjo on her Black Ivory Soul Tour also singing with Carlos Santana. She also toured with Jonatha Brooke and performed on her DVD Back In The Circus, shot live in NYC.

The Joyce Theater Foundation, Inc., a non-profit organization, has proudly served the dance community and its audiences since 1982. The founders, Cora Cahan and Eliot Feld, acquired and renovated the Elgin Theater in Chelsea, which opened as The Joyce Theater in 1982. The Joyce is named in honor of Joyce Mertz, beloved daughter of LuEsther T. Mertz. It was LuEsther's clear, undaunted vision and abundant generosity that made it imaginable and ultimately possible to establish the theater. One of the only theaters built by dancers for dance, The Joyce Theater has provided an intimate and elegant New York home for more than 290 domestic and international companies. The Joyce has also commissioned more than 130 new dances since 1992. In 1996, The Joyce created Joyce SoHo, a dance center providing highly subsidized rehearsal and performance space to hundreds of dance artists. New York City public school students and teachers annually benefit from The Joyce's Dance Education Program, and adult audiences get closer to dance through pre-engagement Dance Talks and post-performance Humanities discussions. The Joyce Theater now features an annual season of approximately 48 weeks with over 340 performances for audiences in excess of 135,000. Additionally, for the last five years The Joyce has co-produced Evening Stars as part of the River To River Festival in Battery Park.

The World Premiere production is made possible by lead commissioning support from The Ellsworth Kelly Foundation; and Dr. and Mrs. Edward J. Prostic, in honor and memory of their daughter Elizabeth Anne Prostic.

Ivł░n Fischer conducts The Cleveland Orchestra in program featuring Rachmaninoff's Symphony No. 2 at Severance Hall on December 3, 4, and 5

Richard Goode is soloist in Beethovenĺ─˘s Piano Concerto No. 3

CLEVELAND, November 3, 2009 ĺ─ý Guest conductor Ivł░n Fischer will lead The Cleveland Orchestra in a program featuring Rachmaninoffĺ─˘s Symphony No. 2 at Severance Hall on Thursday, December 3; Friday, December 4; and Saturday, December 5, at 8:00 p.m. Richard Goode will be soloist in Beethovenĺ─˘s Piano Concerto No. 3. The program begins with Carl Maria von Weberĺ─˘s Overture to Der Freischł║tz, followed by Ludwig van Beethovenĺ─˘s Piano Concerto No. 3 in C minor, Opus 37. After intermission, the program concludes with Sergei Rachmaninoffĺ─˘s Symphony No. 2 in E minor, Opus 27.

ABOUT THE ARTISTS:

Hungarian conductor Ivł░n Fischer has been music director of the Budapest Festival Orchestra since he founded the ensemble in 1983. He also currently serves as principal conductor of the National Symphony Orchestra in Washington D.C. and as principal artist of the Orchestra of the Age of Enlightenment (along with Vladimir Jurowski and Sir Simon Rattle). Mr. Fischer has led Mozart productions at the Vienna State Opera and has also conducted the major opera companies of Brussels, Budapest, Frankfurt, London, Paris, and Zurich. He appears regularly with the leading orchestras of Amsterdam, Berlin, Dresden, and Paris, among other cities, and also has a close relationship with the Munich Philharmonic, with whom he has been conducting a three-year Mahler project that began in December 2007. Mr. Fischer made his Cleveland Orchestra debut at the 1998 Blossom Festival and made his Severance Hall debut in October 1999. His most recent engagement with the Orchestra was in February 2007.American pianist Richard Goode is acknowledged world-wide for his interpretations of Classical and Romantic repertoire, and for music-making of tremendous emotional power, depth, and expressiveness. His recording of the five Beethoven piano concertos with Ivł░n Fischer and the Budapest Festival Orchestra, released on the Nonesuch label in May 2009, was nominated for a Gramophone Magazine ĺ─˙Concerto of the Yearĺ─¨ award. During the 2007-08 season, Mr. Goode performed at and curated a multi-event residency at the South Bank Centre in London as artist-in-residence. He also was a Carnegie Hall Perspectives artist. This season, he collaborates with Jonathan Biss to perform piano duos by Beethoven, Debussy, Schubert, Schumann, and Stravinsky in Boston, New York, and Philadelphia. Mr. Goode currently serves with Mitsuko Uchida as co-artistic director of the Marlboro Music School and Festival in Vermont. He made his Cleveland Orchestra debut in March 1992 and most recently performed with the Orchestra in March 2004.

Concert Previews will be given prior to the December 3, 4, and 5 concerts, beginning at 7:00 p.m., in Reinberger Chamber Hall. Robert Cassidy, a member of the piano faculty at Cleveland State University, will give the Preview. Concert Previews are designed to enrich the concert-going experience by providing historical background and critical insight into the music performed at each concert. This series is funded by a generous endowment gift from Dorothy Humel Hovorka.

CALENDAR LISTINGS:

Thursday, December 3, at 8:00 p.m.Friday, December 4, at 8:00 p.m.Saturday, December 5, at 8:00 p.m.

The Collegiate Chorale Presents Gala Concert A JUBILANT SONG - 12/1

The Collegiate Chorale, led by Maestro James Bagwell in his inaugural concert as The Chorale's newly appointed Music Director, presents A JUBILANT SONG, a celebration of the organization's remarkable history of exceptional conductors, noteworthy commissions and premieres, and multi-faceted choral programming on December 1, 2009 at 7pm at Carnegie Hall. Tickets are $25-$125 and are available through CarnegieCharge at 212-247-7800, at the Carnegie Hall Box Office, or online at www.carnegiehall.org. For more information, visit www.collegiatechorale.org.

As the new Music Director, Mr. Bagwell will give tribute to his predecessors and usher in a new era of The Collegiate Chorale. TonyČĂ Award winner Roger Rees will host the evening. A JUBILANT SONG will feature Salvatore Licitra, tenor (who debuted at Carnegie Hall with The Collegiate Chorale in 2003 in Verdi's La forza del destino); Daniel Mobbs, bass-baritone; Emily Pulley, soprano; Anita Johnson, soprano; Robert Mack, tenor; Erin Morley, soprano; Vale Rideout, tenor, Krysty Swann, mezzo-soprano, Jenny Lin, piano; Kalif Omari Jones, boy soprano; and the American Symphony Orchestra. A benefit dinner with Mr. Bagwell and the artists at Carnegie Hall's Rohatyn Room will follow the concert.

"Before coming on board with The Chorale, one of the things which attracted me the most was its rich history of musical and programming diversity, going all the way back to the ideals of founder Robert Shaw and continuing steadily through the tenures of all subsequent Music Directors, particularly the late Robert Bass - and so I wanted this first concert under my baton to capture the essence of that diversity. We will perform works from Gabrieli to Dello Joio, and from Kopylov to Bernstein and Lerner. The programming will include Verdi and Meyerbeer arias, the beloved Beethoven Choral Fantasy, a couple of exquisite a cappella choral pieces, and musical theater excerpts from Bernstein and Lerner's A White House Cantata. Many of the works we will perform hearken back to earlier concerts, including the Kopylov Heavenly Light, which was on The Chorale's very first public program in 1942," said James Bagwell, music director of The Collegiate Chorale.

The evening's program follows:

Beethoven, Choral Fantasy; Gabrieli, In Ecclesiis; Kopylov, Heavenly Light (part of the first public program presented by The Collegiate Chorale on March 8, 1942); Dello Joio, A Jubilant Song; Shaw/Parker, Set Down Servant; Meyerbeer, O Beau Pays, from Les Huguenots; selected arias from Verdi's Un ballo in maschera; and La forza del destino; excerpts from Bernstein and Lerner's A White House Cantata (which received its New York Premiere in March 2008 by The Collegiate Chorale); and the Libiamo Chorus from La Traviata.

The Collegiate Chorale, among New York's foremost vocal ensembles, has added to the richness of the city's cultural fabric for more than 65 years. Founded in 1941 by the legendary conductor Robert Shaw, The Chorale achieved national and international prominence under the leadership of Robert Bass. The Chorale has established a preeminent reputation for its interpretations of the traditional choral repertoire, vocal works by American composers, and rarely heard operas-in-concert, as well as commissions and premieres of new works by today's most exciting creative artists. In the summer of 2009, The Chorale performed for the fourth season at Switzerland's Verbier Music Festival. In July 2008, The Chorale toured with the Israel Philharmonic Orchestra under Zubin Mehta in Tel Aviv, Haifa, and Jerusalem.

The mission of The Collegiate Chorale is to enrich its audiences through innovative programming and exceptional performances of a broad range of vocal music featuring a premier choral ensemble. Inherent in its mission is The Chorale's belief that choral music is a compelling collaboration that creates a powerful, shared experience unifying listeners and musicians of all backgrounds, beliefs and ages.

James Bagwell maintains an active schedule throughout the United States as a conductor of choral, operatic, and orchestral music. He has recently been named Principal Guest Conductor of the American Symphony Orchestra in New York. Since 2003 he has been Director of Choruses for the Bard Music Festival, conducting and preparing choral works during the summer festival at the Fisher Center for the Performing Arts at Bard College. He has also prepared The Concert Chorale of New York for performances with the American Symphony Orchestra, the Los Angeles Philharmonic, and the Mostly Mozart Festival (broadcast nationally in 2006 on Live from Lincoln Center), all in Avery Fisher Hall at Lincoln Center. In 2005 he was named Music Director of The Dessoff Choirs in New York, who under his leadership have made numerous appearances at Carnegie Hall in addition to their regular season. In 2009 the Dessoff Symphonic Choir appeared with the New York Philharmonic performing both Mahler's Eighth Symphony and Britten's War Requiem for Lorin Maazel's final concerts as Music Director.

James Bagwell has trained choruses for a number of major American and International orchestras, including the San Francisco Symphony, Los Angeles Philharmonic, NHK Symphony (Japan), St. Petersburg Symphony, The American Symphony Orchestra, Cincinnati Symphony Orchestra, Cincinnati Pops Orchestra, and the Indianapolis Symphony Orchestra. He has worked with noted conductors such as Lorin Maazel, Esa-Pekka Salonen, Michael Tilson Thomas, Louis Langrłęe, Leon Botstein, Vladimir Ashkenazy, Raymond Leppard, James Conlon, Jesłćs Lłäpez-Cobos, Erich Kunzel, Leon Fleischer, and Robert Shaw.

For eleven seasons, he has been Music Director for the May Festival Youth Choir in Cincinnati, which was recently featured on the radio program From the Top. He has conducted some 25 productions as Music Director of Light Opera Oklahoma, including Candide, Sweeney Todd, and The Merry Widow, among others. At Bard SummerScape he has led numerous theatrical works, most notably Copland's The Tender Land, which received unanimous praise from The New York Times, The New Yorker, and Opera News. He frequently appears as guest conductor for orchestras around the country and abroad, including the Jerusalem Symphony, Tulsa Symphony, and the Indianapolis Chamber Orchestra. For three seasons he was Artistic Director of The Indianapolis Symphonic Choir. He holds degrees from Birmingham-Southern College, Florida State University, and Indiana University. He has taught since 2000 at Bard College, where he is Director of the Music Program.

Anita Johnson Career highlights include: Marie in The Daughter of the Regiment and Oscar in Un Ballo In Maschera with Michigan Opera Theatre; Konstanze in Die Entfuhrung Aus Dem Serail with Italy's Spoleto Festival; the Princess in L'Enfant Et Les Sorileges and Clara in Porgy And Bess with New York City Opera; Giannetta in L'Elisir D'Amore, Javotte in Manon, and Barbarina in Le Nozze De Figaro with the Metropolitan Opera; Sophie in Der Rosnekavalier, Gretel in Hansel Und Gretel, Giulietta in I Capuleti e i Montecchi, Musetta in La Boheme, Sophie in Werther, Servillia in La Clemenza Di Tito, and Olympia in Les Contes D'Hoffmann, as the resident lyric coloratura soprano with Germany's Nationaltheater Mannheim; Musetta in La Boheme with Opera Pacific; Clara in Porgy And Bess with Atlanta Opera; Zerbinetta in Ariadne Auf Naxos with New Orleans Opera and Opera North; Gilda in Rigoletto with Knoxville Opera and Milwaukee's Florentine Opera; Susanna in Le Nozze Di Figaro and Norina in Don Pasquale with Florentine Opera; Pamina in The Magic Flute with Opera Memphis; Adele in Die Fledermaus with Opera Grand Rapids; and Lucia in The Rape Of Lucretia with Opera Theatre of Saint Louis. Concert highlights have included the Mermaid in Weber's Oberon with The Collegiate Chorale at Carnegie Hall; Mendelssohn's A Midsummer Night's Dream with the Baltimore Symphony; Carmina Burana with the Louisville Orchestra; Barber's Knoxville: Summer of 1915 with the New Haven Symphony; and Messiah with the New Choral Society of Central Westchester.

The Italian Salvatore Licitra is one of the leading tenors in the beautiful and highly sought-after dramatic Italian repertoire where he shows his 'worthiness of the great Italian tradition' (The New York Times). A frequent guest at major opera and concert stages in Europe, the United States and the Far East, his repertory includes Verdi's Aida, Un Ballo in Maschera, La Forza del destino, Ernani, Macbeth, Don Carlos and Il Trovatore as well as Puccini's Tosca, Madama Butterfly and Il Tabarro, Bellini's Norma, Cilea's Adriana Lecouvreur, Giordano's Andrea Chenier, Leoncavallo's Pagliacci and Mascagni's Cavalleria Rusticana. Engagements of the 2009-2010 season include opera and concert performances in Europe, the United States and Japan. Season highlights will be a new Ernani production at the Lyric Opera Chicago and his role debuts as Calaf in Turandot at the New York Metropolitan Opera and as Dick Johnson in a new production of La fanciulla del West at the San Francisco Opera.

Jenny Lin is one of the most respected young pianists today, admired for her adventurous programming and charismatic stage presence. Her ability to combine classical and contemporary literature has brought her to the attention of international critics and audiences. She has been acclaimed for her "remarkable technical command" and "a gift for melodic flow" by The New York Times. The Washington Post praises "Lin's confident fingers... spectacular technique..." and Gramophone Magazine has hailed her as "an exceptionally sensitive pianist." Martha Argerich wrote: "Miss Jenny Lin is a very gifted young musician and a brilliant pianist." Jenny's recent orchestral engagements have included Manuel de Falla's Nights in the Garden of Spain with the La Orquesta Sinfłänica de Gijłän; Ernest Bloch's Concerto Grosso No. 1 with the SWR Rundfunkorchester; the world premiere of Stefano Gervasoni's Piano Concerto with the Orchestra Sinfonica Nationale della RAI; Messiaen's Oiseaux Exotiques with the Spoleto Festival Orchestra; Tchaikovsky's Piano Concerto No. 1 with the National Symphony Orchestra of Taiwan; and tour of Asia in Liszt's Piano Concerto No. 2 with Philharmonia Taiwan. She has also appeared with the Flemish Radio Orchestra, the Nł║rnberger Symphoniker, Chamber Orchestra of Philadelphia, Erato Philharmonia, Rumanian Symphony Orchestra, Orquesta de Valencia, and performed with conductors such as Lothar Zagrosek, Jiri Starek, Urs Schneider, Peter Bay, Jac van Steen, Ovidiu Balan, Wen-Pin Chien, Kek-Tjiang Lim, John Kennedy, and Oliver Diaz.

Tenor Robert Mack's career highlights include Remus, Treemonisha with The Collegiate Chorale; Snake/Vain Man, The Little Prince with NYCO; Alfredo, La Traviata with The Martina Arroyo Foundation. Performances with the New York City Opera include Goro, Madame Butterfly; Goopy, Haroun and the Sea of Stories; Remendado, Carmen; the Ballad Singer, Of Mice and Men; Pong, Turandot; Don Curzio, The Marriage of Figaro; Spoletta, Tosca; Second Shepherd, Daphne; Arturo, Lucia Di Lammermoor, and Rinuccio, Gianni Schicchi. Mack debuted the role of Sportin' Life, Porgy and Bess with New York City Opera and Opera Carolina. He recorded the role of Sportin' Life with The Nasvhville Symphony on Decca Records. Mack has toured with the nationally acclaimed "Three Mo' Tenors" and in addition has made outstanding appearances with Houston Grand Opera, Opera Company of Philadelphia and Indianapolis Opera. He sang the role of John/William Still in She Never Lost A Passenger with Syracuse Opera. He was also a featured tenor soloist for The Alvin Ailey American Dance Theatre's signature work, Revelations. In past seasons he made debuts with Houston Grand Opera, Bastille in Paris and the Teatro Real in Spain. He has also performed in Italy, Germany, Japan and Luxembourg. Mack toured with Broadway's National and European tour of Smokey Joe's Cafłę directed by Jerry Zaks and in 2002 he was directed by Stewart Lane in the production of Ain't MisBehavin.

American bass-baritone Daniel Mobbs has won praise on both sides of the Atlantic for his "solid, resonant voice and boundless energy...his stage presence virtually ensured that he was the focal point of nearly every scene in which he appeared," as written in The New York Times. In the summer of 2009, Mr. Mobbs bows as Assur in Semiramide at Caramoor International Music Festival. At the Bard SummerScape Festival, he will participate in a concert of Wagner arias with the American Symphony Orchestra, under the direction of Leon Botstein. In the fall of 2009, Mr. Mobbs will join Boston Lyric Opera, adding the role of Escamillo in Carmen to his vast repertoire, Leporello in Don Giovanni with Virginia Opera, and Ormonte in Partenope at New York City Opera. He later collaborates with the New York Choral Society for Mozart's Requiem and James DeMars' Tito's Say.

Soprano Erin Morley, a member of the Metropolitan Opera Lindemann Young Artist Development Program since the 2007-08 season, is one of today's most promising coloratura sopranos. Most recently, her Marguerite de Valois in Les Huguenots at the Bard Festival was described by The New York Times as a "formidable performance." Erin Morley's roles at the Metropolitan Opera have included the 2nd Niece in Peter Grimes, Masha in The Queen of Spades, and Frasquita in Carmen in the company's 125th Anniversary Gala. In their 2009-2010 season she sings Echo in Ariadne auf Naxos, the Dew Fairy in Hansel and Gretel, and the Daughter in The Nose. Other notable engagements this season include the soprano solos in Mendelssohn's A Midsummer Night's Dream, with the Chicago Symphony Orchestra and Bernard Haitink and a Gala Concert with The Collegiate Chorale at Carnegie Hall. Ms. Morley has sung with the New York City Opera; as Sophie in Der Rosenkavalier, in a 2006 Gala Benefit, and as Giannetta in L'Elisir d'Amore. Also an alumna of Wolf Trap Opera Company, Ms. Morley debuted the role of Zerbinetta in Ariadne auf Naxos n 2008. She sang Laoula in Chabrier's L'łÔtoile, and Frasquita with Wolf Trap as well.

Soprano Emily Pulley's radiant voice and electrifying acting have won her both national and international acclaim. Opera News writes, "Pulley's bright, perceptively shaded tone and sensitive, responsive acting make her a refreshing heroine, always playing the role rather than the star turn." The New York Times described her portrayal of the title role of Floyd's Susannah as being, "sung with unfailing warmth, radiance, and spirit," and elsewhere has lauded her singing as "faultless and exquisite." A frequent presence at the Metropolitan Opera, Ms. Pulley's roles in the legendary house include Marguerite in Faust, Nedda in I pagliacci, Blanche in Dialogues of the Carmelites, Gretel in Hłžnsel und Gretel, Anne Trulove in The Rake's Progress, Musetta in La bohł«me, Valencienne in The Merry Widow, Thłęrł«se in Les Mamelles de Tirłęsias, and First Lady in a new production of Die ZauberflłĆte directed by Julie Taymor. She made her debut at the Royal Opera House, Covent Garden as Mimi in La bohł«me.

In New York, Roger Rees played the title role in The Life and Adventures of Nicholas Nickleby (Tony Award for Best Actor, the British Olivier Award, and Emmy nomination); Indiscretions (Tony and Drama Desk nominations); Jon Robin Baitz' The End of the Day (Obie Award); Uncle Vanya; The Rehearsal (Roundabout Theater); The Uneasy Chair (Playwrights Horizon); The Misanthrope (Classic Stage Company), and the musical A Man of No Importance (Lincoln Center Theatre). Movies: Bob Fosse's Star 80; Mel Brooks' Robin Hood: Men in Tights; If Looks Could Kill; The Substance of Fire; Trouble on the Corner; Sudden Manhattan; Next Stop Wonderland; A Midsummer Night's Dream; The Emperor's Club; Scorpion King; Julie Taymor's Frida; Peter Greenaway's The Tulse Luper Suitcases; Going Under; Crazy Like A Fox; The Treatment; The Pink Panther; Garfield 2; Prestige; The Invasion; The Narrows; Happy Tears. Television: "Cheers" (as Robin Colcord); "MANTIS;" "Boston Common;" "My So-Called Life;" "Titanic, Liberty;" "Double Platinum;" "The Crossing;" "West Wing" (as Lord John Marbury); "OZ;" "Max Bickford;" "Law and Order;" "Related;" "Grey's Anatomy"(as Dr. Colin Marlowe). Mr. Rees is an Associate Artist of the Royal Shakespeare Company; some favorite RSC productions include - Hamlet (title role), Love's Labour's Lost, Julius Caesar, Cymbeline, Othello, Pericles, Revenger's Tragedy, Henry VIII, Merry Wives of Windsor, Much Ado About Nothing, Indians, The Winter's Tale, Twelfth Night, The Plebieans Rehearse the Uprising, The Way of the World, London Assurance, The Suicide, Three Sisters and Nicholas Nickleby. Mr. Rees originated the role of Henry in Tom Stoppard's The Real Thing in London's West End, and the role of Kerner in Stoppard's Hapgood; he played for a year in the West End in his own thriller, Double Double, co-authored with Eric Elice, author of the hit musical Jersey Boys. In 1984/6 Mr. Rees was Associate Artistic Director for the Bristol Old Vic Theatre in Britain, directing, among other plays, Julius Caesar; Turkey Time; John Bull. Mr. Rees just completed three years as Artistic Director of the Williamstown Theatre Festival in Massachusetts. Where, among much else, he directed The Film Society; The Rivals; The Taming of the Shrew - (directing and playing Petruchio opposite Bebe Neuwirth); Simon Grey's The Late Middle Classes; Anything Goes; Double Double and Herringbone starring B.D. Wong. Other directing credits in the USA includes: TV - "OZ" (HBO): Red Memories (New York Stage and Film); Mud, River, Stone (Playwrights Horizons); The Merry Wives Of Windsor; Loves Labour's Lost (Old Globe Theatre, San Diego); Arms and the Man (Roundabout Theatre); and he conceived and directed: Here Lies Jenny which starred Bebe Neuwirth at the Zipper Theatre in New York and the Post Street Theater, San Francisco; Peter and the Starcatchers, La Jolla Playhouse, co-directed with Alex Timbers.

American tenor Vale Rideout has garnered critical acclaim for his musical artistry and superb stagecraft throughout the United States and Europe. Possessed of both a beautiful instrument and an ability to consistently deliver passionate, energetic performances, he is equally in demand for leading tenor roles from the standard repertory to contemporary premiere works. Vale Rideout's engagements in the 2009-10 season include Peter Quint in The Turn of the Screw with Boston Lyric Opera, Shallard in Elmer Gantry with Florentine Opera, Roderick in Glass' The Fall of the House of Usher with Nashville Opera Association, Alfredo in La traviata with Pacific Opera Victoria, Don Ottavio in Don Giovanni with Palm Beach Opera, Egeo in Cavalli's Giasone with Chicago Opera Theatre, as soloist with the Dallas Symphony Orchestra in "A Christmas Celebration," and in Vaughan Williams' "Hodie" with Highland Park United Methodist Church. His engagements in 2008-09 included his debut with the New York Philharmonic and the continuation of his ongoing collaboration with Lorin Maazel in Britten's War Requiem; the roles of Nadir in Les Płücheurs des perles with Opera Columbus; the title role in Faust with Opera Tampa; Sam in Susannah with Mobile Opera; Gernando in Haydn's L'isola disabitata with Gotham Chamber Opera; Edgardo in Lucia di Lammermoor with Central City Opera; and Frederic in The Pirates of Penzance at the Chautauqua Institution. On the concert stage he performed Carmina Burana with the New Jersey Symphony Orchestra; the world premiere of Steven Stucky's August 4, 1964 with Dallas Symphony; and Messiah with the ProMusica Chamber Orchestra.

Mezzo-soprano Krysty Swann is the recipient of the New York City Opera 2009 Richard F. Gold Career Grant and the 2008 Intermezzo Foundation Award, given by the prestigious Elardo International Opera Competition. Other recent awards include the Silver Prize with Opera Index and a Licia Albanese- Puccini Foundation grant for 2006-07 and 2008-09. Krysty Swann recently covered the title role of Margaret Garner in the New York premiere of Richard Danielpour's opera with New York City Opera and made her Avery Fisher Hall debut in Verdi's Requiem. In addition, she joined the roster of Opera Orchestra of New York for performances of Puccini's Edgar under Eve Queler. Ms. Swann has also appeared with Michigan Opera Theatre and the International Vocal Arts Institute, Israel. This past season, Ms. Swann appeared as Emilia in Kurt Weill and Ira Gershwin's The Firebrand of Florence with The Collegiate Chorale conducted by Ted Sperling and an opera gala concert with Springfield Symphony Orchestra. Ms. Swan also participated in various outreach programs with New York City Opera. In the 2009-10 season, she will return to the New York City Opera as Suzuki in Madama Butterfly.

The American Symphony Orchestra was founded in 1962 by Leopold Stokowski. Under the music direction of Leon Botstein since 1992, the American Symphony has pioneered the performance of thematically organized concerts, linking music to the visual arts, literature, politics, and history. In addition, the American Symphony Orchestra performs in a lecture/concert series with audience interaction called Classics Declassified at Peter Norton Symphony Space. It is also the resident orchestra of the Richard B. Fisher Center for the Performing Arts at Bard College, where it performs an annual concert series as well as in Bard's annual SummerScape Festival and the Bard Music Festival. ASO maintains an award-winning music education program which is presented at numerous high schools through New York, New Jersey, and Long Island. Among the American Symphony's recent recordings are music by Copland, Sessions, Perle, and Rands for New World Records, and music of Ernst von Dohnł░nyi for Bridge Records. Its recording of Richard Strauss's opera Die łžgyptische Helena with Deborah Voigt and of Strauss's Die Liebe der Danae were made for Telarc. Other recordings with Leon Botstein include Franz Schubert: Orchestrated on the Koch International label, with works by Joachim, Mottl, and Webern, and, on the Vanguard Classics label, Johannes Brahms's Serenade No. 1 in D major, Op. 11 (1860). The American Symphony inaugurated Słúo Paolo's new concert hall and has made several tours of Asia and Europe. It has performed with the Peer Gynt Theater Company of Norway in Central Park, and has a long history of appearing in charitable and public benefits for such organizations as Sha'are Zedek Hospital, the Jerusalem Foundation, and PBS. The American Symphony Orchestra has had an illustrious history of music directors and guest conductors. Succeeding Leopold Stokowski, who directed the Orchestra from 1962 to 1972, were Kazuyoshi Akiyama (1973-1978), Sergiu Comissiona (1978-1982), Moshe Atzmon and Guiseppe Patane (co-directors 1982-1984), John Mauceri (1985-1987), and Catherine Comet (1990-1992). Notable guest conductors have included Leonard Bernstein, Karl BłĆhm, Aaron Copland, Morton Gould, Aram Khachaturian, James Levine, Andrłę Previn, Yehudi Menuhin, James de Priest, Gunther Schuller, Leonard Slatkin, Michael Tilson Thomas, and Sir William Walton.

ADDITIONAL PROGRAMS FOR THE CHORALE'S 2009-10 SEASONFor season subscriptions please contact The Chorale office at 646.202.9623 or visit www.collegiatechorale.org.

OPERA-IN-CONCERT / AMERICAN MASTERSThe Grapes of Wrath at Carnegie HallMonday, March 22, 2010 at 8pmMusic by Ricky Ian GordonLibretto by Michael Korie

Friday, November 13, 2009

National Keeping Score telecasts augmented by DVDs, Blu-Rays, and now CDs and On-Demand Steaming

PBS Now Streaming Keeping Score Documentary Episodes On Demand

Coinciding with the current PBS telecasts of the second season of the San Francisco Symphonyĺ─˘s Keeping Score documentary series hosted by Michael Tilson Thomas, the orchestra is releasing on CD concert performances of all of the works featured in the series. The CDs include Berliozĺ─˘s Symphonie fantastique, Ivesĺ─˘s Holidays Symphony paired with Coplandĺ─˘s Appalachian Spring, Shostakovichĺ─˘s Fifth Symphony, Stravinskyĺ─˘s Firebird and selections from The Rite of Spring, Beethovenĺ─˘s Eroica and Tchaikovskyĺ─˘s Symphony No. 4.

These CDs are in addition to the orchestraĺ─˘s releases of all Keeping Score documentaries and performances on DVD, as well as the Season 2 documentaries and performances on Blu-Ray. The Season 2 Keeping Score documentaries, currently airing on PBS stations across the country (check local listings), explore the music and stories behind Hector Berliozĺ─˘s symphonic love letter Symphonie fantastique, Charles Ivesĺ─˘s sonic portrait of New England in his Holidays Symphony, and Dmitri Shostakovichĺ─˘s Symphony No. 5, a work that may have saved his life.

In addition, PBS is making all Keeping Score documentary episodes available for free on-demand.. The new Season 2 episodes (Berlioz, Ives, and Shostakovich), as well as previous Keeping Score documentaries on Beethoven, Copland, Stravinsky, and Tchaikovsky can be viewed on demand at http://video.pbs.org/searchForm/?q=Keeping+Score

Keeping Score CDs and video are available for purchase as follows:

CDs of the Companion Concerts: All six Keeping Score Companion Concert CD titles are available now at shopsfsymphony.org and the San Francisco Symphony Store in the Davies Symphony Hall lobby. Retail Stores everywhere else will carry them in 2010.

Digital Audio Downloads of the Companion Concerts: All six Keeping Score Companion Concert titles are now available from iTunes and ClassicalArchives.com

Digital Video Downloads of the Documentaries: The Beethoven, Berlioz, Copland, Ives, Shostakovich, and Stravinsky Keeping Score documentaries are available now from the iTunes store, Xbox and other online video retailers.

DVDs of the Documentaries and Concerts: Keeping Score Season 1 and 2 documentaries and companion concerts on DVD are available for purchase now from shopsfsymphony.org and at the Symphony Store in Davies Symphony Hall.

Blu-Ray Videos of the Documentaries and Concerts: All three Keeping Score Season 2 documentaries and companion concerts on Berlioz, Ives, and Shostakovich will be available on Blu-Ray in 2010.

Keeping Score was created by the San Francisco Symphony to make classical music more accessible to people of all ages and musical backgrounds. It opened with a pilot program on Tchaikovskyĺ─˘s Symphony No. 4, which aired on PBS stations in June 2004. In November 2006 more than five million viewers tuned into Keeping Score Season 1 with episodes on Beethoven, Stravinsky, and Copland. The PBS telecasts were augmented by an interactive Web site for each program, a national radio series hosted by Michael Tilson Thomas, documentary and live-performance DVDs, and an education program for K-12 schools The current Keeping Score Season 2 programs on PBS are now offered in high definition and surround-sound and are also enhanced by companion Web sites for each episode, DVDs and Blu-Rays of the documentary programs and related performances, and an expanded K-12 education program.

CD Descriptions

Berlioz Symphonie fantastique (SFS 0033)This companion concert recording for Keeping Score Season 2ĺ─ţBerliozĺ─˘s Symphonie fantastique, as seen on PBSĺ─ţwas recorded live in Davies Symphony Hall in December 2007. Video of this performance is included on the DVD with the documentary of Keeping Score: Berliozĺ─˘s Symphonie fanstastique.

Ives Holidays Symphony and Copland Appalachian Spring (SFS 0034)This companion concert recording for Keeping Score includes Charles Ives's Holidays Symphony performed by the San Francisco Symphony, which was featured on the Season 2 program, Keeping Score: Ives Holidays Symphony. The recording of Copland's Appalachian Spring, performed here in the original 13-instrument chamber arrangement, was featured on the Season 1 Keeping Score episode and DVD Copland and the American Sound.

Shostakovich Symphony No. 5 (SFS 0035)This companion concert recording for Keeping Score Season 2: Shostakovich Symphony No. 5, as seen on PBS, was recorded live in Davies Symphony Hall in November 2007. Video of this performance is included on the DVD with the documentary Keeping Score: Shostakovichĺ─˘s Symphony No. 5.

Beethoven Symphony No. 3 Eroica (SFS 0031)This companion concert recording for Keeping Score Season 1:Beethovenĺ─˘s Eroica, as seen on PBS, was recorded live in Davies Symphony Hall in May 2004. Video of this performance is included on the DVD with the documentary Keeping Score: Beethovenĺ─˘s Eroica.

Stravinsky The Rite of Spring and selections from The Firebird Suite (SFS 0032)This companion concert recording for Keeping Score Seasion 1: Stravinskyĺ─˘s Rite of Spring, as seen on PBS, was recorded live in Davies Symphony Hall in September 2004. It includes the complete The Rite of Spring plus three movements from The Firebird Suite (1919 version). Video of these performances are included on the DVD with the documentary Keeping Score: Stravinskyĺ─˘s Rite of Spring.

Tchaikovsky Symphony No. 4 (SFS 0030)This companion concert recording for Keeping Score Season 1: MTT on Music, as seen on PBS, was recorded live in Davies Symphony Hall in May 2002. Video of this performance is included on the DVD with the documentary Keeping Score: MTT on Music ĺ─ý Tchaikovskyĺ─˘s 4th Symphony.

"Till We Meet Again is a must-see play. ĺ─Â Simply put, Till We Meet Again is a classic in the making."

-Translated excerpt from Andrłę Lapointe, RegardEnCoulisse.com

MONTREAL, November 2009 ĺ─ý For those who missed Till We Meet Again in October, the show is back for three performances only, having played to enthusiastic and standing-ovation crowds through Ontario. This wartime musical production offers a true account of how a live CBC-based radio program connected a nation during the uncertainty and emotion of World War II. The themes are as relevant today as they were then in this historical Canadian journey seen through reports through the eyes of Canadian soldiers and the people back home.

Based on playwright David Langlois' months of careful research including dozens of interviews with veterans, Till We Meet Again authentically recreates life in Canada in the 1940's. Audiences enjoy lively songs, dance, and ad jingles, contrasted with live news of the day, reports from the front and actual letters to and from the soldiers. This was a time of people trying to make sense of a world in turmoil. Directed by Heather Markgraf Lowe and presented in the beautiful Oscar Peterson Concert Hall on Concordia University's Loyola Campus, the outstanding cast includes Jane Hackett, Dan Jeannotte, Amanda LeBlanc, Pierre Lenoir, Stephanie McNamara, Michael Daniel Murphy and Marian Siminski. The talented creative team includes lighting designer Eric Mongerson, set designer Chris Brown, choreographer Lorna Wayne and costume designer Karen Pearce. The stage manager is Daveen Garland.

Many people who have seen the show come back again and again, bringing friends and family. "They're all enthralled," Richard Fitzgerald, the show's Executive Producer, describes of watching productions of the show and audience reaction. "People start to see the storylines (as parallels). The past becomes real again ... it brings history alive. It's a show for all ages." Initially brought to the stage in 2002, Till We Meet Again was first workshopped on a much smaller scale, Fitzgerald explains, eventually building up rich back stories and other aspects of the production. Wanting to bring the show to bigger audiences in bigger theatres, this version will complete a 36-performance run across Ontario and Quebec throughout the fall, he adds. It is the story of "love and human decency" against the backdrop of World War II. -Rick Fitzgerald in the East Ottawa Star

"Till We Meet Again is a worthy, meaningful, pleasantly entertaining event."

-Pat Donnelly, Montreal Gazette

Till We Meet Again includes performances of nearly 30 of the most popular hits of the 1940's filled with romance, comedy, army life and hope. Each one beautifully evokes the sounds and emotions of the World War II era. Audiences will enjoy solos, duets, trios and choreographed medleys to classic songs like Boogie Woogie Bugle Boy and Lilli Marlene, among others. This show leaves audience members feeling proud and inspired.

Theatre Panache's Artistic Director Heather Markgraf Lowe (founder of Hudson Village Theatre) was thrilled to restage Till We Meet Again for its tour that began and closes here in Montreal. The performances in Ottawa mark a memorable return to the Canadian War Museum when the all-Canadian cast proudly performs there following Remembrance Day.

Tickets available at the box office and from Admission - 514 790-1245 www.admission.com(Service charges applicable- save money by purchasing tickets directly at the box office.

I think there is sweetness in Heather Markgraf Lowe, which she brings to her direction of this play. ĺ─Â the talented Jane Hackett (who also rocked in Slow Dance with a Hot Pick Up this year). Amanda LeBlanc was delightful as Maxine Martine. Stephanie McNamara was a fabulous Alice Thompson and Marian Saminski did a terrific job as musical director, and played a convincing Dixie Coleman. Michael Daniel Murphy was good as Ron Houseman but had to play next to the inimitable Pierre Lenoir as the lead: a consummate professional. He knows how to deliver song or a line and how to take a joke to the brink of milking it then pulling back with panache.

OTTAWA, November 3, 2009 ĺ─ţ The National Arts Centre Music Department is very pleased to announce that on Friday, October 30, 2009 the Concertmaster Audition Committee voted to award violinist Yosuke Kawasaki tenure in the position of Concertmaster of the National Arts Centre Orchestra.

Pinchas Zukerman, Music Director of the NAC Orchestra, said "I was extremely overjoyed by Yosuke Kawasaki's tenured appointment to Concertmaster. The leadership he has demonstrated, along with his incredible sound, have already produced tremendous changes in the orchestra. In addition to his musicianship, his work ethic is second to none, and he is simply a superb human being. NACO is delighted to have such a wonderful person as its concertmaster, and Canada is very lucky to have such an extraordinary musician representing the country."

Violinist Yosuke Kawasaki was originally named concertmaster of the National Arts Centre Orchestra in June 2007.

BIOGRAPHY

Violinist Yosuke Kawasaki was named concertmaster of the National Arts Centre Orchestra in June 2007.. He is also Principal Guest Concertmaster of the Century Orchestra Osaka, and Concertmaster of the Mito Chamber Orchestra and Saito Kinen Orchestra in Japan, both under the direction of Seiji Ozawa. He began his professional orchestral career as Concertmaster of the Montgomery Symphony Orchestra from 1999 to 2001. Mr. Kawasaki has toured extensively as a chamber musician in North and South America, Europe and Japan. He is a founding member of the D'Amici String Quartet along with world renowned musicians Federico Agostini, James Creitz and Sadao Harada. Mr. Kawasaki is also a founding member of Trio+, a piano trio with pianist Vadim Serebryany and cellist Wolfram Koessel that made its Japan debut at Suntory Hall performing the Beethoven Triple Concerto. Mr. Kawasaki's upcoming projects include solo engagements with Mito Chamber Orchestra and Singapore National Youth Orchestra as well as live chamber music recordings of works by Mozart and Schumann. His most recent recordings include chamber works by Beethoven and Mozart on the TDK Core Label. He has also recorded Bach's Double Concerto and the Complete Brandenburg Concertos with Walter van Hauwe and the Saito Kinen Chamber Players, both on the King Label. Mr. Kawasaki began his violin studies at the age of six with his father Masao Kawasaki and continued with Setsu Goto. At the age of ten he was accepted into The Juilliard School Pre-College Division. He then continued his education and graduated from The Juilliard School in 1998 under the tutorship of Dorothy DeLay, Hyo Kang, Felix Galimir and Joel Smirnoff.

The Cleveland Orchestra and the Greater Cleveland Partnership, in cooperation with the City of Cleveland, seek nominations for the seventh annual Dr.

Awards to recognize an adult, a business or organization, and a youth who have positively impacted Cleveland in the spirit of the teachings and example of Dr. Martin Luther King Jr.

Presentation to take place at The Cleveland Orchestraĺ─˘s Martin Luther King Jr. Celebration Concert on January 17, 2010

CLEVELAND, November 3, 2009 ĺ─ý In cooperation with the City of Cleveland, The Cleveland Orchestra and the Greater Cleveland Partnership are currently accepting nominations for the seventh annual Dr. Martin Luther King Jr. Community Service Award, which will be presented at the Orchestraĺ─˘s Martin Luther King Jr. Celebration Concert at Severance Hall on Sunday, January 17, 2010, at 7:00 p.m. Awards will be presented in three categories in recognition of the services and achievements of an adult, a youth, and a business or organization that have positively impacted Cleveland in the spirit of the teachings and example of Dr. King.

Nomination and Selection Process

Members of the community may submit nominations for award consideration. Nomination forms are available through the websites of The Cleveland Orchestra (clevelandorchestra.com), the Greater Cleveland Partnership (gcpartnership.com), the City of Cleveland (city.cleveland.oh.us), or by calling The Cleveland Orchestraĺ─˘s Department of Education and Community Programs, (216) 231-7355. Nomination forms are due by Thursday, December 17, 2009, and should be mailed to MLK Community Service Award, Attention: Education and Community Programs, The Cleveland Orchestra, 11001 Euclid Avenue, Cleveland, Ohio 44106, or emailed to sjones@clevelandorchestra.com with Subject Line: MLK Community Service Award Nomination.

A six-person panel composed of community leaders will select award recipients. The Nomination Committee will be chaired by Robert P. Madison, CEO, Robert P. Madison International, Inc. and a member of the Musical Arts Association Board of Trustees.

Award Presentation and Concert

The Dr. Martin Luther King Jr. Community Service Award will be presented to the outstanding adult, youth, and outstanding business or organization at The Cleveland Orchestraĺ─˘s 29th annual Martin Luther King Jr. Celebration Concert on January 17, 2010. The concert will take place at Severance Hall at 7:00 p.m., under the direction of Cleveland Orchestra Music Director Franz Welser-MłĆst. Cellist Tony Rymer, first prize winner from the 2009 Sphinx Competition for Black and Latino string players, Senior Division, will make his Cleveland Orchestra debut as soloist in a performance of Dvoë˘ł░kĺ─˘s Cello Concerto in B minor, Opus 104 (First Movement). The Martin Luther King Jr. Celebration Chorus and the Central State University Chorus, with conductor William Henry Caldwell, will also participate in the concert.

Admission to the concert is free, but tickets are required. Tickets will be available on a first-come, first-served basis beginning December 26, 2009, through the Severance Hall Ticket Office. Patrons can stop by the Ticket Office Monday through Friday between 9:00 a.m. and 6:00 p.m., or Saturdays between 10:00 a.m. and 6:00 p.m., or call the Ticket Office at (216) 231-1111 or 1-800-686-1141. A limited number of tickets will also be available via the Cleveland Orchestra website at clevelandorchestra.com. There is a limit of 2 tickets per person.

This concert is sponsored by KeyBank, a Cleveland Orchestra Partner in Excellence, with additional support from The Cleveland Foundation. The musicians of The Cleveland Orchestra donate their services for this concert as a benefit to the Musical Arts Association sustaining fund.

For more information about award nominations and the MLK Celebration Concert on January 17, 2010, please contact The Cleveland Orchestraĺ─˘s Department of Education and Community Programs at (216) 231-7355.

Toronto, ON, November 3, 2009 ĺ─ý The great Shanghai Symphony Orchestra, one of the worldĺ─˘s oldest classical ensembles, makes its Canadian debut at Roy Thomson Hall on Monday, November 16 at 8 pm under the leadership of its dynamic new Music Director, Maestro Long Yu. The featured soloist is the phenomenal 22-year-old pianist Yuja Wang, who joins the orchestra for a performance of Rachmaninoffĺ─˘s beloved romantic masterpiece, Piano Concerto No. 2. The captivating program also includes Mussorgskyĺ─˘s exquisite ĺ─˙Dawn on the Moscow Riverĺ─¨ (Prelude to the opera Khovantchina); and an intriguing work by Chinese composer Chen Quigang, Iris Dłęvoilłęe (Iris Unveiled), for orchestra, two sopranos (combining Western bel canto and Peking opera techniques) and three soloists on traditional Chinese instruments (Erhu, Pipa and Guzheng).

The concert is part of a 12-city, two-week North American tour commemorating the 60th Anniversary of the Peopleĺ─˘s Republic of China and the orchestraĺ─˘s 130th Anniversary. Toronto is the only Canadian city on this historic tour.

The fascinating history of the Shanghai Symphony Orchestra is also the history by which Chinese symphonic music developed. Initially formed in 1879 as the Shanghai Public Band, it had 20 Filipino musicians and a French conductor; and after the arrival of Italian pianist/conductor Mario Paci in 1919, the orchestra promoted Western classical music and trained young Chinese talents in this style. In 1951, under its first Chinese conductor Huang Yijun, the 56-member orchestra, which also included Russian musicians, was soon renamed the Shanghai Symphony Orchestra and within five years its players were entirely Chinese. From 1984 to 2009, under the direction of Chen Xieyang, the orchestra served as a distinguished musical ambassador both at home and abroad and toured extensively, performing repertoire from every corner of the globe, including premieres of more than 1,000 Chinese symphonic works. The orchestraĺ─˘s extensive discography includes Tan Dunĺ─˘s Oscar- and Grammy Award-winning soundtrack for the hit film Crouching Tiger, Hidden Dragon.

Renowned conductor Long Yu is the new Principal Conductor of the Shanghai Symphony Orchestra. He is also the Principal Conductor of both the China Philharmonic Orchestra and the Guangzhou Symphony, and has been a guest conductor for many of the worldĺ─˘s major orchestras and opera companies. He last appeared at Roy Thomson Hall in 2005 with the China Philharmonic Orchestra and piano soloist Lang Lang.

Beijing-born pianist Yuja Wang is widely acclaimed for her ĺ─˙powerhouse technique and penetrating musicalityĺ─¨ (New York Times), and has already made astonishing debuts with many of the worldĺ─˘s top orchestras, including Boston, New York, Philadelphia and Tokyo. Her debut CD for Deutsche Grammophon, Sonatas and Etudes, released in April 2009, has received ecstatic reviews, plus Gramophone magazineĺ─˘s prestigious ĺ─˙Young Artist of the Yearĺ─¨Award.

Roy Thomson Hall and the Toronto Symphony Orchestra have partnered for three guest orchestra co-presentations in the 2009-2010 season, bringing some of the worldĺ─˘s best orchestras to the Toronto stage, beginning with the Shanghai Symphony Orchestra. On February 24, 2010 Yannick Nłęzet-Słęguin conducts the Rotterdam Philharmonic Orchestra; and on April 6, 2010 Christoph Eschenbach conducts the Schleswig-Holstein Festival Orchestra with piano soloist Lang Lang.

Sponsored by TD Canada Trust

Co-presented by the Toronto Symphony Orchestra and the Corporation of Massey Hall and Roy Thomson Hall

A Share the Music Event

Share the Music, a Roy Thomson Hall/Massey Hall arts and education outreach project, has provided more than 100 tickets to music students at secondary schools and community centres. The young guests will also attend a pre-concert workshop-demonstration of Chinese traditional instruments with Toronto musicians Ron Korb (Asian Flutes), Xiaoqiu Lin (Erhu), Ting Hong (Guzheng), and Wang Ying (Pipa). Share the Music is sponsored by Sun Life Financial and supported by many individuals and organizations. For more details, please visit http://www.roythomson.com/education_sharethemusic

WHAT: Oliver Jones Trio - In the opening concert of JPECĺ─˘s inaugural concert series, pianist and Canadian jazz legend Oliver Jones takes the stage with his acclaimed trio. Oliver Jones is a Justin Time recording artist, a Juno Award winner, and recipient of the Governor Generalĺ─˘s Performing Arts Award for Lifetime Achievement.

Oliver Jonesĺ─˘ inspiration is not confined to the artistic community. Heĺ─˘s also the proud recipient of the Martin Luther King Jr. award, celebrating his contributions to the Black Community in Canada and in his native Montreal. In 1993 he received the Order of Qułębec, the provinceĺ─˘s highest honour, and the next year he was awarded the Order of Canada, for "outstanding achievement in the arts." That same year, at the invitation of the Government of Canada, Jones toured several cities in China with bassist Dave Young and drummer Barry Elmes.

TICKETS: $70 VIP (includes a pre-concert reception and post-concert meet-and- greet with the artists)$45 Regular$20 Student/Rush (must be purchased in person with proper ID; rush seats available 30 minutes before performance time)Tickets available from the Roy Thomson Hall box office (416) 872-4255 or buy now online from www.jazzcentre.ca

INFO: Jazz Performance and Education Centre (JPEC) www.jazzcentre.ca inspires and grows audiences for Jazz music through performances, education and recordings. It will be a sophisticated first class venue and education centre for local and International musicians to showcase their talent. The facility will expand Torontoĺ─˘s reputation as one of the most vibrant cities in North America to experience live Jazz, thereby creating an environment that nurtures local talent and develops a new and diverse audience. JPEC will provide a Hall of Fame and Archive of Canadian and International Jazz history.

Founded in 2006, JPEC is dedicated to the preservation and continued development of jazz music in Canada. In August 2008, JPEC was incorporated as a not-for- profit organization and received charitable status in May 2009. JPECĺ─˘s mandate is to increase the audience for Jazz ĺ─ý ĺ─˙a universal languageĺ─¨, through performances, education and recordings. In order to fulfill its mandate, it is vital that JPEC establish a sophisticated first class venue. JPEC is proudly inspired and draws heavily from the well known Jazz at Lincoln Center, New York ĺ─ý replicated on a smaller scale.

Geordie Productions seeks children to play the role of Tiny Tim in upcoming production of A Christmas Carol

November 2, 2009 (MONTREAL) - Geordie Productions has launched its search for children to play the role of Tiny Tim in its upcoming Mainstage production of A Christmas Carol, premiering at the D.B. Clarke Theatre from December 4th - December 18th, 2009.

This unique, non-remunerated opportunity to appear on-stage in a professional production is open to children age 7 - 11 of all race and gender. No acting experience necessary! There are no prior rehearsals for the selected participants, but they will be required to arrive one hour prior to their performance time and will be guided throughout duration of the performance by members of the company.

This large-scale adaptation of Charles Dickens' timeless holiday classic is presented by Geordie in its Montreal Mainstage Series that has included such acclaimed productions as: The Little Prince, The Jungle Book and Alice Through the Looking Glass. Adapted by Alexandria Haber, directed by Dean Patrick Fleming and with 12 adult actors and a team of award-winning designers and choreographer, Geordie's A Christmas Carol is set be THE holiday event for all ages.

To apply to be Tiny Tim, Bob Crachit's frail but generous and loving son who helps Scrooge learn the true meaning of the holidays, applicants are asked to submit:Čů a recent head-to-toe photoČů a short letter telling us what's the best gift you've ever received or given someone and why?

Complete application forms and details are available from Geordie's website: www.geordie.ca. Up to 26 applicants will be selected based on creativity and enthusiasm of their responses, as well as applicant's physical size and availability. Geordie Productions is committed to equality.

The deadline for submissions is Friday, November 20th. Entries can be sent by email to auditions@geordie.ca; or mailed to Geordie Productions, 4001 Berri, Suite #103, Montreal, QC (H2L 4H2). Selected participants will be announced on November 25th, 2009.

Geordie Productions is a member of the Professional Association of Canadian Theatres and engages under the terms of the Canadian Theatre Agreement, professional Artists who are members of Canadian Actors' Equity Association. A Christmas Carol is a co-production with Concordia University's Department of Theatre.

The Editions du Centre de Musique Baroque de Versailles have just published another musical work of Nicolas Bernier, one of the most important composers of the French Court at the end of the 17th and the beginning of the 18th century, along with Lalande and Campra. This new publication is part of a project for the reconstitution and the publication of the 18th grands motets of the composer already preserved.

Written in the beginning of the 18th century, the music of Benedic anima mea Domino, from psalm 103, is incompletely preserved: we only know the parts for the dessus (violins and woodwinds), the basses, the choir and the vocal soloists. The Centre de Musique Baroque de Versailles began the large task of restoring the lost inner parts of the orchestra, beginning with a study of the style of the composer, the knowledge of practices current in the period and analysis of the scores. Then, the majestic French grand motet finds again its characteristic colour of the five part orchestra. This beautiful motet, composed on the model established by Lalande, linking short musical passages of symphonies, solo, duets and choirs to be as near as possible to the feeling of the text.

Series Chëýur et orchestre, Čę 2009, 33 pages, 19,4x24,1 cm, full score paperback, ISMN M-56016-177-8. Restoration of the inner orchestral parts made by Bernard Thomas. With the patronage of the Syndicat d'Agglomłęration de Marne-la-Vallłęe/Val Maubułęe and in partnership with professor Raphał┤l Picazos from the music school of Conservatoire łŢ Rayonnement Rłęgional du Val Maubułęe. With an introduction in French and text of the psalm (Latin/French).

Larry is a paedophilic birthday clown who sees a twelve-year-old prostitute regularly to keep his proclivities under control. She's not available this week so he's stuck with Britney, a voluptuous teenage 'pro', head over heals in love with her pimp, Ace, who's threatened to boot her out if she doesn't start bringing in some serious cash. Larry has his sights set on a little girl coming to his next clown gig, so the pressure's on; he knows what he'll do if he doesn't get relief. He needs someone who 'knows the routine'. Britney has to make Larry a happy camper so she and Ace can live happily ever after. The dingy hotel room becomes a confessional where life secrets are shared and the spectre of loneliness is denied, even if only for a little while.

Baritone Andrew Garland Reprises Laitman's "Men with Small Heads" in Tribute to Living American Composers

Andrew Garland Reprises Laitman's "Men with Small Heads" in Tribute to Living American Composers

Lori Laitman's humorous treatment of the poetry of Thomas Lux resonates widely with baritones, especially with Andrew Garland, who reprises the cycle Men with Small Heads in two upcoming recitals titled Living American Composers. The recitals will take place in New York City and Cincinnati and will also feature songs by Rorem, Paulus, Kohn and Cipullo.

Garland's November 2008 Weil Recital Hall performance of Laitman's cycle with pianist Donna Loewy garnered high praise from the press: "Garland thoroughly owned these quirky settings of child's-eye-view poems by Thomas Lux ĺ─ÂWhether as the perspective-challenged six-year-old of the title song, a youth lusting after a jar of maraschino cherries, the proud owner of a tin parrot pin whose charm is lost on others or a deliciously sibilant snake warning swimmers out of his lair, Garland was utterly engaging. Laitman's sense of humor enhances her considerable skill as a text-painter, and this set was easily the highpoint of the concert."(Opera News). The title song of the cycle was named Best American Art Song by the 2004 San Francisco Song Festival and appears on Laitman's 2003 CD Dreaming.

Lori Laitman is one of America's most prolific and widely performed composers of vocal music. She has composed nearly 200 songs, setting the words of classical and contemporary poets from Emily Dickinson to Richard Wilbur. "It is difficult to think of anyone before the public today who equals her exceptional gifts for embracing a poetic text and giving it new and deeper life through music." (The Journal of Singing)

Laitman's new opera, The Scarlet Letter, premiered in 2008 to rave reviews. "Composer Lori Laitman has written gorgeous music that works hand-in-glove with the words of librettist David Mason and underpins the very essence of this psychological-social drama...the few arias are at key moments and are stunningly effective." (The Arkansas Democrat-Gazette). The opera, commissioned by The University of Central Arkansas, is based on Nathaniel Hawthorne's literary masterpiece, as adapted by award-winning poet David Mason. Mason and Laitman are continuing as collaborators on a new opera, based on Mason's verse novel, Ludlow. Currently they are working on Vedem, a Holocaust oratorio which tells the story of the boys at Terezłén and their secret journal. Vedem was commissioned by Music of Remembrance and will premiere at Benaroya Hall in Seattle, WA on May 10, 2010.

Music of Remembrance also commissioned Laitman's song cycle The Seed of Dream, released on Naxos to critical acclaim. The cycle sets the poetry of Vilna Ghetto survivor Abraham Sutzkever. Dr. Sharon Mabry, in The Journal of Singing, pronounced the work "a masterpiece that should not be missed!"

Since launching her career in 1991, Laitman's music has been performed frequently in the US and abroad. Some recent U.S. venues include The Frye Art Music and Benaroya Hall in Seattle, WA; The Kennedy Center and The Phillips Collection in Washington, DC; Weill Recital Hall and Merkin Hall in New York, NY; The Granada in Santa Barbara, CA and The USC Fisher Museum in Los Angeles, CA. Her discography also continues to grow, with releases on Albany Records, Naxos, Channel Classics and other labels, showcasing the talents of some of today's top musicians, among them Jennifer Check, Sari Gruber, Warren Jones, Maureen McKay, Robert McPherson, Lee Poulis, Barbara Quintiliani, Randall Scarlata and William Sharp. Laitman frequently travels to universities and festivals to present master classes on her music.

Within These Spaces, Laitman's latest solo CD released in May 2009, is receiving exceptional praise: "This is music of depth and richness that connects with the soul." (American Record Guide); "Her affinity for the voiceĺ─Âis beyond doubtĺ─Âher songs represent outpourings of great beauty." (Fanfare Magazine). Gramophone Magazine called Laitman's Becoming a Redwood: "An extraordinarily impressive achievementĺ─Â[which indicates] increasing evidence of a major talent. Lori Laitman's beautiful, sensitively crafted songs deserve to be performed widely." In a review of her 2000 release, Mystery, Opera News says: "Composer Lori Laitman knows how to let the voice soar and exploreĺ─Âspinning lyrical neo-romantic vocal lines over shifting post-modern sonorities." A Journal of Singing review says of her 2003 album, Dreaming: "This is a stunning collection of widely varied songs by one of the finest art song composers on the scene today...Lori Laitman deservedly stands shoulder to shoulder with Ned Rorem for her uncommon sensitivity to text, her loving attention to the human voice and its capabilities, and her extraordinary palette of musical colors and gestures."

Laitman graduated magna cum laude from Yale College and received her Master of Music degree in flute performance from The Yale School of Music. Her recordings are available on her website, www.artsongs.com, as well as Amazon and ITunes.

VO Announces Golden Anniversary Concert Program

Celebration includes performances by Brett Polegato,Tracy Dahl and Sally Dibblee, as well as video presentations from Ben Heppner and Richard Margison

Vancouver, BC ~ Vancouver Opera announced today the program for the Scotiabank Group Golden Anniversary Concert, to take place at the Orpheum Theatre on Friday, November 6, 2009. Conducted and hosted by VO Music Director Jonathan Darlington, and directed by Michael Cavanagh, the Scotiabank Group Golden Anniversary Concert celebrates VOĺ─˘s milestone season with a sublime evening of magnificent performances.

The evening will also include a special ensemble performance of Act 2 of Johann Straussĺ─˘s beloved and highly entertaining Die Fledermaus, with some celebrity guests making surprise appearances.

Tickets

The Scotiabank Group Golden Anniversary Concert & Gala celebration takes place on Friday, November 6, 2009.

The Concert begins at 7:00pm at the Orpheum Theatre; the Gala dinner follows, at the historic Commodore Ballroom.

Tickets to the Golden Anniversary Concert are $19 - $75 and are available at www.vancouveropera.ca or through the VO Ticket Centre at 604-683-0222.

Gala Package tickets include both the Concert and Gala portions of the evening as well as a private pre-Concert Reception and valet parking. The Gala Package is $650 (includes $300 tax receipt) and is available exclusively through the VO Ticket Centre at 604-683-0222.

"CLASSICALLY-TRAINED GARAGE BAND" BECOMES ISO'S FIRST ENSEMBLE-IN-RESIDENCE AND WILL TAKE A LEAD ROLE IN THE SYMPHONY'S NEW AUDIENCE ENGAGEMENT INITIATIVES AND STUDENT MENTORSHIP

INDIANAPOLISĺ─ţFor the first time in its 79-year history, the Indianapolis Symphony Orchestra has created a residency program tied to an ensemble group rather than an individual artist or composer. As the new ensemble-in-residence for the Indianapolis Symphony, the dynamic string trio Time for Three will bring its unique sound and innovative approach to composing and performing music on stage and throughout the community beginning in November of this year and ending with the 2011-2012 season.

Time for Three membersĺ─ţZach De Pue, violin and ISO Concertmaster, Nick Kendall, violin, and Ranaan Meyer, double bassĺ─ţbegan playing together as students at the Curtis Institute of Music in Philadelphia and formed the group after discovering their affection for improvisation and blending jazz, classical, bluegrass and country western music in new and different ways. The self-described "classically-trained garage band" has appeared with the ISO on multiple occasions at the Hilbert Circle Theatre, Marsh Symphony on the Prairie and at other select events. As the Orchestra's official ensemble, the group plans to bring its music to new audiences and new venues throughout Indiana; establish relationships with and inspire student musicians from selected residency schools; develop a leadership role with programming for, and performances in, the ISO's Stella Artois Happy Hour at the Symphony series; and together with the ISO musicians and artistic staff, create new opportunities that attract the next generation to the performing arts.

"I am excited about the possibilities that our partnership with Time for Three opens up for the Indianapolis Symphony Orchestra," said Simon Crookall, President and CEO of the Indianapolis Symphony Orchestra. "We have seen what a dynamic affect the group has on our audiences, who are charmed and invigorated by their amazing talent, enthusiasm and charisma. Building on the relationship that Zach has already established with the Orchestra and with the public, it is wonderful to welcome Nick and Ranaan to the ISO family! There is no better way to reach out to new audiences in Indianapolis than by collaborating with this dynamic trio."

Time for Three's concert schedule with the ISO includes Lilly Classical Series performances Nov. 5-7 and in February and May of next year for Happy Hour at the Symphony. Working with the ISO's Learning Community, the group will be scheduling appearances and community events and developing official relationships with Broad Ripple and Perry Meridian high schools in order to work one-on-one with students in the music programs. More up-to-date information on the residency and events associated with the group will be available at a new web site, www.ISOTf3.org beginning Nov. 1.

"Being invited to partner with the ISO is a thrill for us, a career highlight, and an inspiring opportunity to be a part of an institution we strongly believe in," said Nick Kendall. "The ISO is a foundation for us, and together with the musicians and creative leadership of the Orchestra, we hope to provide additional energy to the already mighty strength of this organization. We want to evolve the art form and spread the word in a heartland community we are quickly falling in love with."

Time for Three Community Events and Concerts in 2009-2010

Time for Three: Roots and WingsMonday, Nov. 2, 20097 p.m.Indianapolis Hebrew CongregationExplore the creative process of the dynamic trio, Time for Three. The group will demonstrate its approach to adapting existing melodies by experimenting with some songs from the Jewish tradition.Public welcome; free

Young Professionals Breaking BoundariesTuesday, Nov. 3, 20095:30-7:30 p.m.Hilbert Circle Theatre Wood RoomA presentation, short performance and a question and answer session for members of IndyHub and Lacy Leadership Association.

Spirited ChaseSaturday, Nov. 7, 2009WFYI9 a.m.Time for Three will help kick off this annual signature event of the 2009 Spirit and Place Festival.Public welcome; free

Time for Three: World View, One SoundFebruary 2010 (exact date to be determined)7 p.m.Marian University ChapelHear the sound that's breaking down musical barriers and discover how this trio is defying the limits of their instruments and industry one note at a time.Free; open to the public.

Stella Artois Happy Hour at the Symphony featuring Time for ThreeFeb. 18 & May 6, 2010Hilbert Circle TheatreHappy Hour begins at 5 p.m.; Concert starts at 6:30 p.m.$20/personTickets can be purchased at www.IndianapolisSymphony.org or (317) 639-4300.

The ISO has collaborated with four artists-in-residenceĺ─ţpianists Barry Douglas, Pascal Rogłę and Andrłę Watts and baritone Nathan Bergĺ─ţall during former Music Director Raymond Leppard's tenure. In addition, Gabriela Lena Frank just completed a residency program in the 2008-09 season with the premiere of Peregrinos (Pilgrims), and David Ott joined the ISO in 1990 as a composer-in-residence and created five worksĺ─ţMusic of the Canvas (1990), Indianapolis Concerto (1993), Improvisations on the "Clara Songs" from Egmont (1994), Garden of Secret Thoughts (1996) and Triple Concerto (1997).

About Time for Three

What started as a trio of musicians who jammed together backstage while students at Philadelphia's Curtis Institute for Music evolved into Time for Three -- a charismatic ensemble with a reputation for limitless enthusiasm and no musical boundaries. The members -- Zach De Pue, violin; Nick Kendall, violin; and Ranaan Meyer, double bass -- carry a passion for improvisation, composing and arranging, all prime elements of the ensemble's playing. Zach De Pue and Nick Kendall first discovered their mutual love of fiddling in the country western and bluegrass styles. Bassist Ranaan Meyer then introduced them to his deep roots in jazz and improvisation. After considerable experimentation, the three officially formed Tf3. The ensemble gained instant attention in July 2003 during a lightning-induced power failure at Philadelphia's Mann Music Center. While technicians attempted to restore onstage lighting, Ranaan and Zach, who were both performing with The Philadelphia Orchestra, obliged with an impromptu jam session that included works as far afield from the originally scheduled symphony as "Jerusalem's Ridge," "Ragtime Annie," and "Orange Blossom Special." The crowd went wild.

Tf3 sets itself apart not only with its varied repertoire performed with astonishing technical acuity, but also through its approach. Its high-energy performances are free of conventional practices, drawing instead from the members' differing musical backgrounds. The trio also performs its own arrangements of traditional repertoire and Ranaan Meyer provides original compositions to complement the trio's offerings. Tf3 has performed on many of the nation's important stages, including the Mann Music Center, the Kennedy Center in Washington, D.C. and Joe's Pub in New York. In addition to their albums, they have been seen and heard frequently on various television and radio broadcasts throughout the country, including numerous times on Public Television and NPR, and were featured in a documentary film about Philadelphia's Rittenhouse Square directed by Robert Downey, Sr. The group also recorded the soundtrack to the History Channel's production, The Spanish-American War.

The ensemble has begun a major commissioning program to expand its unique repertoire for both symphony orchestras and concert series. One of these projects has involved a new work written by celebrated composer Jennifer Higdon, premiered in six performances by Tf3 with The Philadelphia Orchestra and Christoph Eschenbach in January 2008. Future commissions will include works by Chris Brubeck and William Bolcom. In addition to its demanding performance schedule, the trio is committed to reaching younger audiences and has participated in a number of educational residencies and outreach concerts including Paul Newman's Hole In The Wall Gang Camp (for which they have helped raise over $8 million along with Whoopi Goldberg, Alec Baldwin, Mikhail Baryshnikov and Joanne Woodward); The Fox Channel's "Good Morning Philadelphia" telecast from the Kimmel Center; the Liberty Awards Ceremony honoring Colin Powell; and the Philadelphia Chamber of Commerce's morning debate banquet for gubernatorial candidates Edward Rendell and Mike Fisher. Tf3 was also featured in the Pennsylvania Society's televised annual gala from New York's Waldorf-Astoria.

The 2009-10 season finds Time for Three continuing a rigorous North American performance schedule. Highlights include appearances with the Baltimore Symphony Orchestra under Marin Alsop; Fort Worth Symphony under Miguel Harth-Bedoya; Indianapolis Symphony Orchestra; and a debut of a Chris Brubeck commission with the Boston Pops under Keith Lockhart. Also in 2009-10, the group furthers its commitment to outreach by launching a multi-year residency with the Indianapolis Symphony and makes its Carnegie Hall debut on the Family Concert Series.

Chor Leoni is proud to present the esteemed Estonian choir, the Revalia Male Chamber Choir, in concert on Saturday, November 21 (7:30 pm) at Shaughnessy Heights United Church. Revalia was formed in the autumn of 1998 by Hirvo Surva, a long-term conductor of the Revalia Boys' Choir. The majority of the members of the Revalia Male Chamber Choir are former members of different boys' choirs from all over Estonia. The choir has 30 members with the average age of 25 years.

In the relatively short time they have been together, Revalia has become a perennial winner at festivals and competitions, so much so that in 2003 they were named the Estonian Male Choir of the year. For more information on Revalia please visit http://www.meeskoor.ee/eng_index.php

Vancouver's Chor Leoni will open the concert with a short set before handing the bulk of the programme over to our guests. The evening will close with the two choirs performing together.

PSO Announces Grants in Support of Equipment and Instruments

PORTLAND, Maine ĺ─ý The Portland Symphony (PSO) announced today grants and gifts from foundations, corporations and individuals towards the purchase of new equipment and instruments.

As part of Robert Moody's vision to broaden the concert experience by adding visual elements, the Symphony has purchased a new high power long-throw projector. The following donors provided generous funding towards the purchase of the projector: Acadia Insurance, the George A. Ramlose Foundation, Dr. Michael and Barbara Shapiro, and Dr. Nicholas Nelson. The projector allows the PSO to project text and images on a screen over the stage which can serve both artistic and educational functions.

The Davis Family Foundation provided funds for the purchase of a new marimba made by Bill Youhass of Fall Creek Marimbas.

The PSO's 2009-10 season is sponsored by IDEXX Laboratories. For complete season information, including artist biographies; program notes; and Online Insights, provided with support from season Enrichment Sponsor Fairpoint Communications; visit www.portlandsymphony.com.

Orchestrations of grace and dramatic flair in evening of Mahler and Schubert - Nov. 14

Classic Landmarks Masters

Magical vocal landscape and stream of lovely melodies in evening ofMahler and Schubert

Saturday, November 14th ĺ─ý 8:00 pm

Edmonton, AB ĺ─Â Graceful melodies and dramatic flair lie within your Edmonton Symphony Orchestraĺ─˘s (ESO) next Classic Landmarks Masters series performance. Award-winning and infectiously exuberant conductor Giancarlo Guerrero returns to the Francis Winspear Centre for Music to lead the orchestra and elegant Canadian soprano Laura Whalen through orchestrations of contrast and influence.

Themes from Mahlerĺ─˘s song ĺ─˙The Heavenly Lifeĺ─¨ are the basis of his Fourth Symphony. The poetic and musical summit will be brought to life with a soaring soprano solo in the passionate final movement. Making her ESO debut, Laura Whalen sings a deliberately nałěve impression of heaven, inviting us into a fairytale realm and innocent vision of paradise.

The effervescent charm of Rossini and the muscular feel of Beethoven infuse Schubertĺ─˘s youthful Sixth Symphony. In this ESO premiere, streams of lively and innocent melodies are distinguished by brusque contrasts that deftly maintain the workĺ─˘s overall buoyancy.

Guests are invited to join ESO Resident Conductor Lucas Waldin at Symphony Prelude - 7:15 pm in the Upper Circle (Third Level) Lobby ĺ─ý to learn more about the influential works that will be presented.

Ticket prices for this performance range from $20 ĺ─ý $69 (agency fees apply). Student and senior $20 rush tickets are on sale, subject to availability, two hours prior to performance time. Tickets are available through the Winspear Centre Box Office at (780) 428-1414, toll-free 1-800-563-5081, or online at edmontonsymphony.com.

The next performance of the Classic Landmarks Masters series takes place on November 27th & 28th, as Katherine Chi plays Beethoven. The ESO premieres a titan of the opera repertoire, Wagnerĺ─˘s glorious Die Meistersinger, in a new orchestral ĺ─˙tribute,ĺ─¨ and welcomes Calgary native Katherine Chi as guest soloist in Beethovenĺ─˘s ĺ─˙Emperorĺ─¨ Piano Concerto.

The Edmonton Symphony Orchestra, marking its 58th season in 2009-2010, has taken its place as one of Canada's foremost orchestral ensembles. Its current roster includes 56 musicians from Canada and around the world, performing a wide-ranging repertoire from the great classical masterworks to pops and children's concerts. The presence of the orchestra and its enrichment of the community's quality of life are key elements in the stature and profile of Edmonton on the national and international scene.

Giancarlo Guerrero's 09/10 season marks his first as Music Director of the Nashville Symphony Orchestra. A champion of new music, a new CD on Naxos of music by Michael Daugherty, with the Nashville Symphony, was released in September 2009. Mr. Guerrero's guest conducting engagements in the 09/10 season include in Milwaukee, New Jersey, and Fort Worth, the Pacific Symphony, in Costa Mesa, as well as the Curtis Institute of Music. He recently made two important debuts abroad: his European debut with the Gulbenkian Orchestra, where he was immediately invited to return, and his UK Debut with the Royal Scottish National Orchestra. He has also recently made successful debuts with several major American orchestras, including the Baltimore Symphony, the Cleveland Orchestra, the Seattle Symphony, the Los Angeles Philharmonic at the Hollywood Bowl, and the Philadelphia Orchestra.

Also in demand in Central and South America, Giancarlo Guerrero conducts regularly in Venezuela with the Orquesta Sinfłänica Simłän Bolłévar, with which he has had a special relationship for many years. His debut at the Casals Festival with Yo-Yo Ma and the Puerto Rico Symphony in 2005 was followed by return engagements in 2006 and 2007. He also made his debut at the Teatro Colłän in Argentina in 2005. In June 2004, Guerrero was awarded the Helen M. Thompson Award by the American Symphony Orchestra League, which recognizes outstanding achievement among young conductors nationwide. Guerrero holds degrees from Baylor and Northwestern universities. He was most recently the Music Director of the Eugene Symphony. From 1999 to 2004, Mr. Guerrero served as Associate Conductor of the Minnesota Orchestra. Prior to his tenure with the Minnesota Orchestra, he served as music director of the Tł░chira Symphony Orchestra in Venezuela.

Mr. Guerrero last conducted the ESO in November, 2007.

Laura Whalen has made her mark as a lyric soprano whose performances are notable for beauty of tone and musical finesse. Ms. Whalenĺ─˘s 2009-2010 season is a mix of concert and opera appearances beginning with Rosalinde in Die Fledermaus for Opera Hamilton. Beethovenĺ─˘s Missa solemnis marks her return to Ottawaĺ─˘s National Arts Centre, and Calgary Opera audiences hear her as Donna Elvira in Don Giovanni. Ms. Whalen has been called on for some of the most important leading roles in the repertoire, including the tragic heroine in Romłęo et Juliette and Pamina in Die ZauberflłĆte. Ms. Whalenĺ─˘s concert schedule has been equally demanding with performances of Beethovenĺ─˘s Symphony No. 9, Poulencĺ─˘s Gloria, Mozartĺ─˘s Requiem, KrłĆnungmesse, and Vesperae solennes de confessore.

Laura Whalen toured Spain and Portugal singing Die SchłĆpfung in the summer of 2004. She debuted with the Canadian Opera Company as Der Waldvogel in Siegfried, and for Chicago Opera Theatre as Helena in Brittenĺ─˘s A Midsummer Nightĺ─˘s Dream. She won acclaim in Carmina Burana with the Washington (D.C.) Choral Arts Society conducted by Leonard Slatkin. Career highlights have included the creation of the title role in Filumena by Estacio and Murrell for Calgary Opera (later for an Edmonton performance filmed by CBC), Mimi in La Bohł«me for Pacific Opera Victoria, and the Governor Generalĺ─˘s Award telecast from the National Arts Centre conducted by Mario Bernardi. She toured Europe with the Caritatis Choir singing Brahmsĺ─˘ Ein Deutsches Requiem, and has been featured with orchestras in Quebec, Toronto, Calgary, Florida, Hamilton, and Winnipeg. Ms. Whalen holds a Bachelor's Degree in Music from the University of Victoria and an Opera Diploma from the University of Toronto. She studied at the Britten-Pears School in England and has received awards from the Vancouver Opera Guild, Canadian National Music Festival and the National Association of Teachers of Singing.

Ms. Whalen has sung in Filumena with Edmonton Opera in 2005 with the ESO accompanying, but this performance is her debut with the ESO.

Sonic Reality Announces EpiK DrumS- A Ken Scott Collection

Virtual Drum Instrument for Authentic Classic Grooves

October 2009, Sunrise FL, USA- As part of the Ken Scott Collection Series, Sonic Reality is proud to announce ĺ─˙EpiK DrumS ĺ─ý A Ken Scott Collectionĺ─¨. The product is a massive virtual instrument/plug-in for drum kits and grooves with the authentic sound and feel of classic rock records. It features 5 of the worldĺ─˘s best drummers recorded by legendary producer/engineer Ken Scott.

In EpiK DrumS, Ken recreated the drum sounds of multi-track studio sessions he recorded with David Bowie, Supertramp, Mahavishnu Orchestra, Dixie Dregs, Missing Persons, Elton John and The Beatles. Authentic classic drum sounds were achieved from using the same rare recording equipment, the same instruments, expert technical assistance from Ross Garfield ĺ─˙The Drum Doctorĺ─¨, advanced sound development by Sonic Reality and collaboration with the original drummers Bill Cobham, Terry Bozzio, Woody Woodmansey, Bob Siebenberg and Rod Morgenstein. All together this makes up one of the most EPIK productions ever for a software drum instrument.

Features:

ĺ─ó Virtual Drum & Groove Instrument/Plug-in for authentic classic drumsĺ─ó Multi-track drum kits and audio grooves recorded by legendary engineer/producer Ken Scottĺ─ó Unique Kits and Grooves of top drummers: Bill Cobham, Bob Siebenberg, Terry Bozzio, Woody Woodmansey and Rod Morgensteinĺ─ó Over 80 Gigabytes of high quality 24 bit drum samplesĺ─ó Over 2,000 audio grooves ranging from classic rock and pop time signatures to fusion and unique style complex grooves rarely found in sample libraries.ĺ─ó Seven Advanced Expressive Drum Kits in the style of artists such as David Bowie, Supertramp, Mahavishnu Orchestra, Dixie Dregs, Missing Persons, Elton John and The Beatles.ĺ─ó Flexible mix and match kit pieces for unlimited custom drum kits as well as percussion.ĺ─ó ĺ─˙Out of the boxĺ─¨ album mixes by Ken Scott as well as discrete mixing control for both instant gratification and flexibility.ĺ─ó Midi Drum Kits mapped in GM, iMapĺĐó, V-DrumĺĐó, Performance and Custom modes with midi learn for the ability to play from a keyboard or any electronic drum kit.ĺ─ó Includes Sonic Realityĺ─˘s proprietary Multi-track RexĺĐó Grooves which are real live-played drum loops mapped to the keyboard. Snap to the tempo of your host while providing full discrete mic mixing capability between directs, overheads, room and more.ĺ─ó Includes the Infinite Player powered by Kontakt for compatibility as a plug-in for every major DAW as well as stand-alone for the Mac and PC.ĺ─ó Mix and match custom kits compatible with other Drum Masters series titles.ĺ─ó The combination of authentic grooves and playable drum kits allows you to create the most realistic drum tracks for your music.

Ken Scott is a legendary British recording engineer and producer who recorded The Beatles, David Bowie, Elton John, Supertramp, Pink Floyd, Jeff Beck, Mahavishnu Orchestra, Billy Cobham, Duran Duran, Dixie Dregs, Missing Persons, Devo, Lou Reed, America, George Harrison and many other iconic artists in music history. He had his start in the 60s working as a Tape Op at Abbey Road Studios and from there went on to engineer and produce some of the most acclaimed albums of the 20th Century. Ken has recorded timeless songs such as "I Am The Walrus", "Rocket Man", "Ziggy Stardust", "Dreamer", "Walk On The Wild Side" and many others. One of the unique aspects of Kenĺ─˘s career in music is the diversity of iconic styles he has been a part of from the 60ĺ─˘s to todayĺ─Â from the birth of Modern Rock ĺ─˛nĺ─˘ Roll (Beatles) to Glam Rock (Bowie) to Fusion (Mahavishnu Orchestra) to New Wave (Missing Persons, Devo) and more.

Ken Scott has collaborated with Sonic Reality to capture samples in a modern software instrument with some of the most sought after distinct character sounds he has recorded over the years. These are sounds that might otherwise be lost in history, but with the same great ears, technique and style Ken has preserved a sonic part of his legacy to bring inspiration to new musicians all over the world.

ABOUT SONIC REALITY

Sonic Reality is an award-winning sound developer that has provided samples for leading music software and hardware keyboard and electronic drum manufacturers such as Yamaha, Alesis, Roland, IK Multimedia, Propellerheads, Native Instruments, Cakewalk, Mackie, Apple and more. They developed Sonic Refills, R.A.W. Loop Libraries and an expanding line of Infinite Player/Kontakt-based virtual instruments such as Drum Masters, Serafine FX Tron, Cinema Sessions and many others. Sonic Reality co-developed virtual instruments like Ocean Way Drums, Miroslav Philharmonik, Sonik Synth 2, SampleMoog and SampleTron. The company was founded in the mid-90's by keyboardist/producer Dave Kerzner and has since followed a steady mission to "Sample Everything".

Toronto, Canada ĺ─ý Today at the Canadian Opera Company's (COC) Annual General Meeting, COC Board President Paul Spafford announced that the COC is riding on a wave of success: the last three seasons have played to capacity houses; its subscription rate is among the highest in North America; and, in 2009/10, only the Metropolitan Opera and Lyric Opera of Chicago will perform more than the COC. Critical and popular response to the 2008/09 season was outstanding and the season played to 99.7% capacity and reached a new single season revenue record of $12,634,000, a 2.7% increase over the previous season.

In spite of these successes, the COC's fundraising programs were not immune to the effects of the global economic crisis. After six consecutive years of surpluses, the COC has incurred an operating deficit of $1.6 million for the 2008/09 season, directly attributed to a shortfall in the company's annual fundraising programs. Although the COC received contributions from over 5,000 patrons in 2008/09, the company was $1.1 million behind in its fundraising goals budgeted for the year. In addition, the company did not receive $500,000 in endowment earnings expected from The Canadian Opera Foundation (COF) due to a shortfall in investment performance.

Fortunately, the COC is able to overcome the deficit and finish the year with a modest $25,000 surplus by accessing an allocation from a special cash fund held by The Canadian Opera Foundation. This cash fund was created from the COC's prior operating surpluses and is specifically earmarked to support artistic goals for future seasons.

"There's no question it has been a challenging year financially, but the good news is that the COC is an extremely successful company by all other measures. We pride ourselves on cost efficiency with no loss to artistic achievement. Fortunately, we've been able to access some reserves this year from past surpluses," said Paul Spafford, President of the COC Board. "The COC's success is the result of hard work, prudent fiscal practices, a passionate commitment to producing the best art possible and thankfully, a loyal audience and many generous donors. We are greatly energized by the support we receive and future opportunities to improve the company's already-high artistic standards."

"It has been an extremely exciting first year for me as General Director. I am very pleased and proud to lead a company that produces opera at a level as high as, or higher than, any other North American company with a much smaller budget than those of our North American peers," said Alexander Neef, General Director. "And, I have been particularly encouraged to see enthusiastic and full houses in the opera house for every performance. I'm glad that we can engage audiences with the breadth and depth of repertoire we produce because it bodes very well for the future of the COC and opera in Canada."

During the 2008/09 season, box office revenues represented 41% of total operating revenues, with fundraising and sponsorship accounting for 33%, government funding accounting for 23%, and the remaining 3% coming from other income sources such as space and production rentals.

Artistically, the 2008/09 season saw 64 performances of seven operas on the mainstage of theFour Seasons Centre for the Performing Arts, and four performances of the Ensemble Studio production in the Imperial Oil Opera Theatre. The 2008/09 mainstage season included company premieres of Prokofiev's monumental War and Peace, Dvoë˘ł░k's dreamy Rusalka and Britten's magical A Midsummer Night's Dream, as well as a new production of Beethoven's Fidelio, a moving and powerful production of Verdi's Simon Boccanegra, a witty take on Mozart's Don Giovanni, and the COC's beloved production of Puccini's La Bohł«me. Overall, the subscription season was performed to a record level of 99.7% of capacity.

In January 2009, General Director Alexander Neef appointed conductor Johannes Debus as the COC's new Music Director. Mr. Debus had conducted the company's enormously successful production of War and Peace in the fall of 2008. Maestro Debus begins his tenure at the COC in November 2009 as conductor for the company's Diamond Anniversary concert featuring tenor Ben Heppner and the COC Orchestra. He also conducts the company's production of The Flying Dutchman in April 2010.

In 2008/09, the COC's successful Free Concert Series in the Richard Bradshaw Amphitheatre celebrated its third year with 75 free events ranging from classical, jazz, world music, and contemporary dance. The Free Concert Series attracted approximately 18,000 audience members of all backgrounds and ages who experienced the artistic excellence and cultural diversity of the city.

In the 2008/09, the Canadian Opera Company saw an overall decrease of 11.6% in its annual fundraising programs, with the most affected campaigns being Corporate Performance Sponsorship and Individual Major Gift fundraising. Individual giving campaigns accounted for 67% of overall fundraising in 2008/09, and approximately $9 million was received from over 5,000 subscribers and donors, corporations and foundations. Commitments to mainstage productions and artist sponsorships, in addition to annual support through the President's Council, Golden Circle and Friends of the COC patron programs ĺ─ý including two lead gifts from Anonymous donors for the Year-End Matching Appeal ĺ─ý totaled over $5.5 million.

COC fundraising efforts through special projects and events raised over $325,000 from generous individual donors and supporters.

Notwithstanding the overall decline, corporate sponsorship in 2008/09 continued to receive support from several loyal sponsors. The company maintained significant relationships with Jaguar Land Rover Canada, Sun Life Financial, Andrew Peller Limited, Delvinia, CTVglobemedia, Hilton Toronto, and St. Joseph Print. Production sponsors for the season were CIBC and CIBC Mellon, National Bank Financial Group, and RBC Financial Group. Other returning sponsors were Xstrata Nickel, TD Bank Financial Group, BMO Financial Group, and Scotiabank Group.

Recently, the 2009/10 season at the Four Seasons Centre for the Performing Arts opened with outstanding reviews and sold out houses for Madama Butterfly (which has, to date, sold 30,000 tickets for 15 performances) and the world premiere of The Nightingale and Other Short Fables by Robert Lepage, set to the music of Stravinsky. Demand for The Nightingale and Other Short Fables was so high that the COC added a performance to its original run of eight, and the run has almost sold out.

In January, the COC presents a revival of its production of Bizet's Carmen, and a new production of Verdi's Otello. The spring run opens with Wagner's The Flying Dutchman, followed by Donizetti's bel canto classic and the COC premiere of Maria Stuarda, and Mozart's exquisite Idomeneo. The Ensemble Studio performance of Idomeneo on the mainstage takes place on May 19, 2010.

About the Canadian Opera Company

Based in Toronto, the Canadian Opera Company is the largest producer of opera in Canada and fifth largest in North America, and celebrates its 60th anniversary in 2009/10. Under the new leadership of General Director Alexander Neef and Music Director Johannes Debus, the COC continues its international reputation for artistic excellence and creative innovation. The COC currently enjoys a remarkable 99% attendance rate and one of the highest subscription rates in North America. The COC performs in its new opera house, the Four Seasons Centre for the Performing Arts, designed by Diamond and Schmitt Architects Inc. From its inauguration in 2006, the Four Seasons Centre has been internationally hailed as one of the finest opera houses in the world. The Four Seasons Centre is also the performance venue for The National Ballet of Canada. ĺ─«

The WSO Reaches Out to the Student Community With Free Concert

Winnipeg, MB ĺ─ý October 27, 2009 ĺ─ý This Friday, the Winnipeg Symphony Orchestra presents Dvorł░kĺ─˘s New World Symphony, one of the most popular works in the modern repertoire, to over 650 students from across the province ĺ─ý at no charge.ĺ─«ĺ─«

The Winnipeg Symphony Orchestra is committed to reaching audiences of all ages with their Education and Outreach Programs, and throughout the month of October, high school students were introduced to orchestral music in a unique, up close and personal way ĺ─ý some for the very first time.ĺ─«ĺ─«

As a result of the success of the Up Close & Orchestral (UCO) program, over 3,500 students have received a rare opportunity to meet the WSO musicians and music director Alexander Mickelthwate and to make a direct connection to symphonic music. ĺ─˙We choose a concert to offer to students on the free night that is a natural evolution to the programming that UCO currently does,ĺ─¨ says Tanya Derksen, Director of Education & Outreach. ĺ─˙At the Up Close & Orchestral concerts, Alexander talks to the students in an engaging and interactive way that appeals to them, so when we offer the opportunity to hear the WSO again, there is always a positive response from the students. Alexander is one of the key reasons for the success of the free concert as he continues that rapport with them even at the concert hall!ĺ─¨ĺ─«ĺ─«

Schools who will be attending from across the province include: WC Miller Collegiate, Oak Park High School, College Jeanne-Sauve, R.B. Russell High School; Faith Academy High School; Garden City Collegiate, St. Johnĺ─˘s-Ravenscourt, St. James Collegiate, Dakota Collegiate, Glenlawn Collegiate, West Kildonan Collegiate, Gordon Bell, MBCI, Miles Macdonell Collegiate; River East Collegiate; Westpark High School; Kelvin High School; St. Norbert Collegiate; Ecole Christine-Lesperance; and College Louis-Riel.ĺ─«ĺ─«

The October 30 concert will feature: Bramwell Toveyĺ─˘s Urban Runway ĺ─ý a jazzy interpretation of American folk history ĺ─ý through the world of fashion; Christopher Rouseĺ─˘s Flute Concerto ĺ─ý a certifiable hit being performed by the WSOĺ─˘s flutist, Jan Kocman; and Dvorł░kĺ─˘s New World Symphony ĺ─ý a multicultural blend of Native and African-American musical traditions ĺ─ý all conducted by Alexander Mickelthwate.ĺ─«ĺ─«

The WSO performs the Masterworks concert, Dvorł░kĺ─˘s New World Symphony, on Friday, October 30 and Saturday, October 31 at 8 pm at the Centennial Concert Hall. Tickets range from $20 to $75 and are available through the WSO box office at 949-3999, online at www.wso.ca or through Ticketmaster (780-3333 or ticketmaster.ca).

Canadian Jazz Icon Terry Clarke releases CD "It's About Time"

ĺ─˙Itĺ─˘s About Time is a series of intimate and emotionally compelling jazz conversations between friends and colleagues...my sole purpose at this juncture in my life is to present music that embodies the joy that I feel playing with friends...good no-holds-barred jazz with good people.ĺ─¨ --Terry Clarke

OCTOBER 25, 2009 ĺ─ý TORONTO/NEW YORK CITY - Iconic, multiple award-winning Canadian jazz drummer, Terry Clarke has recorded and performed internationally with the crł«me de la crł«me of jazz for over half a century. Finally ĺ─ý he has momentarily stepped away from his beloved sideman status in order to produce his first recording as a leader, Itĺ─˘s About Time (BlueMusicGroup.com). For this auspicious debut, Terry chose a title with a distinctive double-entendre and has presented music written and performed by five jazz luminaries with whom he has a long musical and personal history: multi-saxophonist and Blue Note recording artist Joe Lovano, multi-instrumentalist Phil Dwyer, alto saxophonist Greg Osby, guitarist Jim Hall and long-time musical collaborator (and award-winning multi-instrumentalist/arranger/composer) Don Thompson. The material on Itĺ─˘s About Time was co-produced by Clarke and Mika Pohjola of BlueMusicGroup.com and has been culled from three amazing ĺ─˙LIVEĺ─¨ concert events: A January 2000 presentation of JAZZ FM 91ĺ─˘s prestigious and long-running ĺ─˙Sounds of Torontoĺ─¨ jazz concert series, as well as two different concerts recorded by the CBC at The Montreal International Jazz Festival of 2000, where Jim Hall appeared in a variety of formats as an honoured guest. A Cross-Canada Jazz Festival Tour (Summer 2010) is in the works for Terry and his ensemble, as well as CD Launch events in Vancouver, B.C. and New York City (dates T.B.A.).

Itĺ─˘s About Time opens with the dynamic and melodically progressive (as well as percussive) ĺ─˙Feel Freeĺ─¨, composed by stellar tenorist Joe Lovano. This tune not only sets the mood for the rest of the recording, but displays the free-flowing communication that runs rampant between these master musicians. Next up is legendary jazz guitarist Jim Hallĺ─˘s jaunty island foray ĺ─˙Say Hello to Calypsoĺ─¨ followed by Phil Dwyerĺ─˘s swinging bop composition ĺ─˙Flanders Roadĺ─¨, which features Phil on some breathtaking sax work ĺ─ý a cacophony of saxophony. Track four is piano giant McCoy Tynerĺ─˘s ĺ─˙Passion Danceĺ─¨, which opens with a solo section of Clarkeĺ─˘s dextrous, dark, elemental and pulsating percussion. A highlight is Don Thompsonĺ─˘s gorgeous and evocative ballad ĺ─˙Days Gone Byĺ─¨, on which he thrills us with his multi-textured piano playing while Phil Dwyer explores other realms with his saxophone. Jim Hallĺ─˘s stunning performance on ĺ─˙In a Sentimental Moodĺ─¨ (from the immortal Duke Ellington) is a stand-out as it wrings a startling array of musical and emotional nuances from his sumptuous guitar...and Greg Osbyĺ─˘s lyrical alto solo is perfection itself. Itĺ─˘s About Time closes with the Oscar Hammerstein and Jerome Kernĺ─˘s jazz standard ĺ─˙All the Things You Areĺ─¨ (originally written for the hit Broadway musical ĺ─˙ĺ─˘Til the Clouds Roll Byĺ─¨) on which Lovano, Hall, Thompson, Osby and Clarke soar in the rarefied air of musical symbiosis and symmetry.

About Terry Clarkeĺ─Â

International jazz drummer, Terry Clarke, was born in Vancouver, British Columbia, and began displaying his rhythmic aptitude at a very early age. He was twelve years old when he began studying formally with noted drum teacher and author, Jim Blackley. Blackley was, and is to this day, a primary and ongoing figure in Terryĺ─˘s continuing development as a musician.

In 1965, Terry moved to San Francisco to work with the legendary saxophonist, John Handy III. He performed with Handy for the next two and a half years, during which time the GRAMMY nominated recording, Live at The Monterey Jazz Festival (Columbia ĺ─ý 1966) was made. Following the John Handy experience (which included Terryĺ─˘s long-time musical collaborator and friend, Don Thompson), Terry began building his reputation for versatility by joining the world-famous pop vocal group, ĺ─˙The Fifth Dimensionĺ─¨. The Grammy-winning group was at the height of their popularity, and Terry traveled and performed extensively with them throughout the U.S.A., Canada and Europe.

Terry left ĺ─˙The Fifthĺ─¨ in 1970, and subsequently re-located to Toronto. For the next fifteen years, he played an abundance of jazz in all styles, and established himself as a major figure in Torontoĺ─˘s then-considerable studio scene. Countless television shows, jingles and recording dates were Terryĺ─˘s mainstay, as well performances in legendary Toronto jazz clubs, ĺ─˙Georgeĺ─˘s Spaghetti Houseĺ─¨, ĺ─˙Bourbon Streetĺ─¨ and ĺ─˙Basin Streetĺ─¨ ĺ─ý often working with international jazz figures such as Frank Rossolino and Lenny Breau. During this time, Terry also toured extensively in Japan and Europe with jazz guitar legend, Jim Hall and piano great, Oscar Peterson.

Terry Clarke is well known as an original member of the world-acclaimed jazz big-band, ĺ─˙Rob McConnell and the Boss Brassĺ─¨. For twenty-five years he recorded and toured with the ensemble, helping to define its remarkable and dynamic signature sound. In 1985, looking for greater musical challenges, Terry moved to New York City to pursue an exclusively jazz-oriented career. During his tenure there, he worked and recorded with The Toshiko Akiyoshi Jazz Orchestra, Helen Merrill, Toots Theilemans, Ann Hampton Callaway, Red Mitchell, Marvin Stamm, Jim Hall, Bill Mays, Roger Kellaway and the late Joe Roccisano (to name just a few).

Having recorded over 400 albums with various jazz artists, Terry Clarke is a familiar face at Jazz Festivals, Concert Halls and Venues throughout the world. In August of 1999, after fifteen productive years in New York, he returned to Toronto with his wife Lesley, and their two young sons, Kristopher and Kyle. In October of that same year, Terry re-united with Rob McConnell, and joined ĺ─˙The Rob McConnell Tentetĺ─¨ ĺ─ý an exciting ensemble that is fueled by talented musicians and the brilliant writing of valve trombonist, McConnell. The ĺ─˙Tentetĺ─¨ received a GRAMMY nomination, as well as a JUNO award for their self-titled debut CD, has consistently garnered rave reviews and awards for their subsequent recordings on the Justin Time label. Terry Clarkeĺ─˘s most recent release is Bickĺ─˘s Bag (Triplet Records), featuring the trio of Bill Mays, Neil Swainson and Terry Clarke. The well-received recording is a tribute to Canadian jazz guitar legend, Ed Bickert.

Terry Clarke continues to perform and record with a number of international artists, such as Nancy Wilson, Bill Mays, Renee Rosnes, Jim Hall and Helen Merrill, as well as with an exciting line-up of Canadian musicians such as David Braid, Jake Langley, Don Thompson, Nancy Walker, Neil Swainson and David Occhipinti. Terry is also an enthusiastic jazz educator, and for the past three years has been a member of the Faculty of Music at the University of Toronto, and for six consecutive years (2002-2008), he has been honoured as ĺ─˙Drummer of the Yearĺ─¨ at the annual National Jazz Awards. Terry Clarke is also extremely proud to have been recently named as a Member of the Order of Canada ĺ─ý Canadaĺ─˘s highest civilian honour.

ITĺ─˘S ABOUT TIME was recorded January 15th , 2000 at The Ontario Science Centre ĺ─ý Produced by Ted Oĺ─˘Reilly and Engineered by William Van Ree for JAZZ FM 91 - and July 6th and 8th, 2000 at The Montreal International Jazz Festival -

Recorded by CBC/Radio Canada

Co-Produced by Terry Clarke and Mika Pohjola for BlueMusicGroup.comMixed and Mastered by Mika PohjolaCover Art and Design by Petr CancuraAdditional Photos by Bill King, Carolyn A. McKeone and William E. ClarkeJoe Lovano appears courtesy of Blue Note RecordsItĺ─˘s About Time is dedicated to memory of the late, great Gordon ĺ─˙Whiteyĺ─¨ Mitchell

ITĺ─˘S ABOUT TIME is available for purchase throughBlueMusicGroup.com, Atelier Gregorian and other fine music outlets in Canada and the U.S.

For the finest in contemporary jazz, please visit the eco-friendly Cyber-label,BlueMusicGroup.com

Bertrand de Billy makes his Cleveland Orchestra debut in program featuring Dvoë˘ł░kĺ─˘s ĺ─˙New Worldĺ─¨ Symphony at Severance Hall on November 27 and 28

CLEVELAND, October 28, 2009 ĺ─ý French conductor Bertrand de Billy (pronounced Bear-TRAN de Bee-YEE), music director of the Vienna Radio Symphony Orchestra, will make his debut with The Cleveland Orchestra conducting a program featuring Dvoë˘ł░k's Symphony No. 9 ("From the New World") in Thanksgiving weekend concerts at Severance Hall on Friday, November 27, and Saturday, November 28, at 8:00 p.m. (He will also conduct the Orchestra's Musically Speaking concert on Sunday, November 29, at 3:00 p.m.) For the November 27 and 28 concerts, Jonathan Biss will return to Severance Hall to perform Mozart's Piano Concerto No. 9 ("Jeunehomme"), K. 271, with the Orchestra.

The program for November 27 and 28 begins with Ludwig van Beethoven's Overture to Egmont, Opus 84, followed by Wolfgang Amadł« Mozart's Piano Concerto No. 9 in E-flat major ("Jeunehomme"), K. 271. After intermission, the program concludes with Antonłén Dvoë˘ł░k's Symphony No. 9 in E minor, Opus 95 ("From the New World").

FREE CONCERT PREVIEWS:

Concert Previews will be given prior to the November 27 and 28 concerts, beginning at 7:00 p.m., in Reinberger Chamber Hall. James Feddeck, Cleveland Orchestra assistant conductor, will give the Preview, titled "New Worlds and New Sounds." Concert Previews are designed to enrich the concert-going experience by providing historical background and critical insight into the music performed at each concert. This series is funded by a generous endowment gift from Dorothy Humel Hovorka.

Concert Preview, in Reinberger Chamber Hall beginning at 7:00 p.m.: "New Worlds and New Sounds," given by James Feddeck, Cleveland Orchestra assistant conductor

Bertrand de Billy

French conductor Bertrand de Billy, music director of the Vienna Radio Symphony Orchestra, will make his Cleveland Orchestra debut with the concerts of November 27, 28, and 29, 2009. Born in Paris in 1965, Bertrand de Billy studied violin and viola, sang in a boys' choir, and began his professional career as an orchestra member. In 1986, he began a four-season tenure as conductor of the Orchestre Symphonique des Jeunesse en Ile de France. He subsequently became conductor and deputy music director of the Anhaltisches Theater in Dessau, Germany, and in 1996, the Volksoper Vienna. From 1999 to 2004, Mr. de Billy was music director of the newly re-opened Teatro del Liceu in Barcelona.

Bertrand de Billy has conducted at the state opera houses in Berlin, Hamburg, and Munich; London's Royal Opera; National Opera in Paris; Thłęłótre Royal de la Monnaie in Brussels; and Vienna State Opera; and at the Los Angeles Opera, Metropolitan Opera, and Washington Opera in this country. At the Vienna State Opera, he was responsible for several new productions, including the complete French version of Verdi's Don Carlos. In 2002, Mr. de Billy made his debut at the Salzburg Festival with the Vienna Philharmonic Orchestra, conducting Mozart's The Magic Flute. That year he also became principal conductor of the Vienna Radio Symphony Orchestra, with which he has performed many operas at Vienna's Theater an der Wien.Mr. de Billy's extensive discography includes the symphonies of Beethoven and Mahler; French orchestral music; Mozart's Cosi fan tutte, Don Giovanni, and The Marriage of Figaro; the tone poems of Richard Strauss; and Wagner's Ring cycle. His recording of Puccini's La Bohł«me with the Bavarian Radio Symphony Orchestra was used as the soundtrack for the film of the same name.

Bertrand de Billy has conducted nearly all the orchestral works of Dutilleux and Messiaen, as well as world premieres of pieces by Friedrich Cerha and Johannes Maria Staud. Mr. de Billy also regularly leads performances of music by Luciano Berio, HK Gruber, Hans Werner Henze, GyłĆrgy Kurtł░g, Wolfgang Rihm, JłĆrg Widmann, and Bernd Alois Zimmermann.

American pianist Jonathan Biss is known for his prodigious technique, diverse repertoire, artistic maturity, and versatility. He made his Cleveland Orchestra debut in November 2007.Jonathan Biss represents the third generation in a family of professional musicians that includes his grandmother, the cellist Raya Garbousova, and his parents, violinist Miriam Fried and violist/violinist Paul Biss. Jonathan Biss began studying piano at age six, and his first musical collaborations were with his parents. He studied at Indiana University with Evelyne Brancart and at the Curtis Institute of Music with Leon Fleisher. In 2000-2001, Mr. Biss made both his New York recital debut and his New York Philharmonic debut.

Mr. Biss has received many honors, including the 2002 Gilmore Young Artist Award, Wolf Trap's Shouse Debut Artist Award, the Andrew Wolf Memorial Chamber Music Award, Lincoln Center's Martin E. Segal Award, an Avery Fisher Career Grant, the 2003 Borletti-Buitoni Trust Award, and the Leonard Bernstein Award at the 2005 Schleswig-Holstein Festival.In repertoire ranging from Beethoven to Schoenberg, as well as new music including commissions from Leon Kirchner and Lewis Spratlan, Jonathan Biss has performed with the orchestras of Detroit, Houston, Philadelphia, and Pittsburgh, and on a European tour with the Orpheus Chamber Orchestra. In recent seasons, he made his debuts with the Bilbao Orkestra Sinfonikoa, London Philharmonic Orchestra, NDR Hamburg, Philharmonia Orchestra, and the Swedish Radio Symphony Orchestra. This past summer, he toured Japan with the NHK Orchestra and performed with the Melbourne Symphony.

In the 80th birthday celebrations of Leon Fleisher in October 2008, Mr. Biss joined pianists Yefim Bronfman, Katherine Jacobson Fleisher, and Mr. Fleisher in concerts in New York, Boston, and Baltimore. The pianists played both individually and in piano four-hand combinations.

Mr. Biss has been a member of Chamber Music Society Two at Lincoln Center, a frequent participant at the Marlboro Music Festival, and a collaborator with such ensembles as the Borromeo and Mendelssohn quartets as well as with violinist Midori and cellist Johannes Moser.Mr. Biss's recordings for EMI Classics include works by Mozart and Schumann. He received an Edison Award for his disc of Beethoven's piano sonatas and a Diapason d'Or de l'annłęe for a CD of music by Schumann.

Paris, 28 October 2009 ĺ─ý The MIDEM Classical Awards Jury today announces the first Special Awards for the 2010 edition. The winners are Italian soprano Mirella Freni, Canadian pianist Angela Hewitt, Latvian mezzo-soprano Elina Garanca, German baritone Christian Gerhaher and the label Nałěve.

The four artists and Nałěve will be honoured as part of the MIDEM Classical Awards 2010 ceremony, on January 26th, in the Palais des Festivals, Cannes.

The "Lifetime Achievement" award goes to the Italian soprano Mirella Freni. The singer became enormously successful in 1963 when she conquered the audience at the Scala in Milan as "Mimi" in Franco Zeffirelli's and Herbert von Karajan's legendary " La Bohł«me." This production became one of the most popular opera films of all times.

In Cannes, the Canadian pianist Angela Hewitt will receive the "Instrumentalist of the Year" award. Hewitt is a proven specialist of Johann Sebastian Bach's music and is just as successful with Chopin, Beethoven or Schumann. In 2005, she launched the Trasimeno Music Festival held annually in Magione.

For the category "Singer of the Year," the MIDEM Classical Awards Jury decided to honour two artists: the mezzo-soprano Elina Garanca and the baritone Christian Gerhaher. Born into a musical family in Riga, Elina Garanca made her international breakthrough in 2003 at the Salzburger Festival when she sang "Annio" in a production of Mozart's "La Clemenza di Tito," conducted by Nikolaus Harnoncourt. She has since established herself as one of the world's most renowned singers.

Considered one of the most talented interpreters of our time, the German baritone Christian Gerhaher also caught the Jury's attention. He took part in Helmut Deutsch's "lied class" and participated in the master-classes given by Dietrich Fischer-Dieskau, Elisabeth Schwarzkopf and Inge Borkh. In 1998 he won the Prix International Pro Musicis in Paris/New York and subsequently debuted at Carnegie Hall in New York and the Schubertiade Feldkirch.

Finally, by electing Nałěve as "Label of the year", the Jury has acknowledged the energy deployed by the label in the music industry and its capacity to explore a large and rare catalogue including a range of first choice artists.

New this year:

ĺ─ó MidemNet for free! - Access to the cutting-edge digital business conference included in MIDEM registration.

ĺ─ó MidemNet Lab - Discover the latest business innovations through a selection of 15 promising music start-ups chosen by a jury of highly successful entrepreneurs.

ĺ─ó Redesigned exhibition zone - Networking, knowledge and open meeting places right at the heart of the market.

ĺ─ó The Fringe - A friendly and efficient manner to showcase artists to the world.

ABOUT REED MIDEM

Founded in 1963, Reed MIDEM is a leading organiser of professional, international tradeshows. Reed MIDEM events have established themselves as key dates in professional diaries. The company hosts MIPTV, MIPDOC, MIPCOM, and MIPJUNIOR for the television and digital content industries, MIDEM for music professionals, MIPIM, MIPIM Asia, MIPIM HORIZONS and MAPIC for the property and retail real estate sectors.

Reed Exhibitions is the world's leading events organiser, with over 470 events in 37 countries. In 2008 Reed brought together over seven million industry professionals from around the world generating billions of dollars in business. Today Reed events are held throughout the Americas, Europe, the Middle East and Asia Pacific, and organised by 38 fully staffed offices.

Cleveland Orchestra Youth Orchestra performs first Severance Hall concert of the 2009-10 season on November 22

Cleveland Orchestra Youth Orchestra performs first Severance Hall concert of the 2009-10 season on November 22

New Youth Orchestra Music Director James Feddeck conducts program featuring music by Berlioz, Brahms, and Copland

CLEVELAND, October 27, 2009 ĺ─ý The Cleveland Orchestra Youth Orchestra will perform its first Severance Hall concert of the 2009-10 season on Sunday, November 22, 2009, at 3:00 p.m. James Feddeck, in his first season as music director of the Youth Orchestra, will begin the performance with Hector Berliozĺ─˘s Roman Carnival Overture, followed by Aaron Coplandĺ─˘s Suite from Appalachian Spring. After intermission, the program concludes with Johannes Brahmsĺ─˘s Symphony No. 4 in E minor, Opus 98.

A Prelude Concert will be held in Reinberger Chamber Hall beginning at 2:00 p.m. The Prelude will feature chamber music by Brahms and Milhaud performed by Youth Orchestra ensembles, and is free to concert ticket holders. The music to be performed includes selections from Brahmsĺ─˘s String Quintet No. 1 in F major, Opus 88; Brahmsĺ─˘s String Quintet No. 2 in G major, Opus 111; and Darius Milhaudĺ─˘s Suite dĺ─˘aprł«s Corrette, Opus 161 (for wind trio).

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TICKETS cost $12 each (reserved seating). Three-concert season subscriptions are also available for $30. Boxes are available at $160 per concert (8 seats per box).

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The Cleveland Orchestra Youth Orchestra (COYO), now in its 24th season, is a full, 105-member symphony orchestra of young musicians from more than 45 communities in 11 counties across northern Ohio and western Pennsylvania. The Youth Orchestra was founded in 1986 under the direction of former Cleveland Orchestra Resident Conductor Jahja Ling to provide talented young musicians with a pre-professional orchestra training experience of the highest possible artistic standard. Since that time, more than 1,000 young musicians have benefited from the unique musical experiences that COYO offers: weekly coachings with members of The Cleveland Orchestra, rehearsals and performances in historic Severance Hall, and opportunities to work with internationally renowned guest artists and conductors, including Pierre Boulez, Peter EłĆtvłĆs, Yo-Yo Ma, Kurt Masur, Gil Shaham, Michael Tilson Thomas and Cleveland Orchestra Music Director Franz Welser-MłĆst. As one of the best youth orchestras in the country, the Cleveland Orchestra Youth Orchestra has garnered a number of prestigious accolades. Following the opening concert of the Youth Orchestraĺ─˘s 2007-08 season, The Plain Dealer commented that ĺ─˙As the last movement [of Sibeliusĺ─˘s Symphony No. 2] ascended to its sunny peak, the orchestra filled every corner of Severance Hall with tonal gold.ĺ─¨ In March 2008, The Plain Dealer stated that the Youth Orchestraĺ─˘s performance of the conclusion of Mahlerĺ─˘s Symphony No. 1 ĺ─˙shook the hall in a blaze of youthful glory.ĺ─¨

In June 2009, the Cleveland Orchestra Youth Orchestra made its first appearances (performing four concerts) in Boston, Massachusetts, and surrounding areas, marking the first COYO tour since the Youth Orchestraĺ─˘s triumphal tour performance at Carnegie Hall in 2001.

Each of the Cleveland Orchestra Youth Orchestraĺ─˘s concerts this season is to be broadcast on later dates by WCLV 104.9 FM. The November 22 concert is scheduled to be broadcast at 4:00 p.m. on Sunday, January 10, 2010, and 8:00 p.m. on Saturday, July 17, 2010.

The Cleveland Orchestra Youth Orchestra is part of The Cleveland Orchestraĺ─˘s wide-ranging Community Music Initiative (CMI), which seeks to engage the community in transformational musical experiences, and to foster a love of music and a lifetime of participation in the musical arts. For more information, please contact the Orchestraĺ─˘s Department of Education & Community Programs at (216) 231-7355, or visit clevelandorchestra.com.

CALENDAR LISTING:Sunday, November 22, 2009, at 3:00 p.m.(Prelude Concert at 2:00 p.m. featuring chamber music by Brahms and Milhaud performed by members of the Youth Orchestra)

New Initiatives, including Cast Member Blog and Thematic Program Notes, ĺ─«Will Encourage Audience to Explore Behind the Scenes and Between the Lines

OBERLIN, OHIO (October 27, 2009)ĺ─ţ Outrageous disguises, delightful music, and an impossibly hilarious plotline, all the makings of a great Mozart comedy, will come together to splendid affect in Oberlin Opera Theaterĺ─˘s CosłĘ fan tutte. A traditional interpretation, with 18th-century-style costumes and sets, this classic production will let Mozartĺ─˘s glorious music and Da Ponteĺ─˘s clever libretto sing, under the baton of Bridge-Michaele Reischl and the direction of Jonathon Field. Two new initiativesĺ─ţa behind-the-scenes blog and thematic program notesĺ─ţwill offer audiences ways to explore different aspects of the production. As always, talented young singers from the conservatory will perform the opera, portraying Mozartĺ─˘s faithful fiancłęes, seductive suitors, and mischievous masterminds.

The production opens on Wednesday, November 18, at 8 p.m. in Oberlin Collegeĺ─˘s Hall Auditorium, with additional performances on Friday and Saturday nights at 8 p.m. and Sunday afternoon at 2 p.m. Tickets are incredibly affordable: $5 for students; $8 for Oberlin College faculty, staff, alumni, parents, area educators, and seniors; and $12 for the general public. Discounted season subscriptions are available.

CosłĘ fan tutte, one of a trilogy of collaborations between Mozart and master librettist Lorenzo Da Ponte, is a classic comic opera. As the curtain opens, Ferrando and Guglielmo proclaim the faithfulness of their brides-to-be, the lovely sisters Dorabella and Fiordiligi. Their skeptical friend Alfonso proposes a test of the sistersĺ─˘ fidelity, recruiting their spunky maid, Despina, to aid in his plan. Using every ploy he can muster, from disguising their lovers as mustachioed Albanians to staging their death (and resurrection), Alfonso attempts to prove that, when it comes to love, all women are the same. The production will be sung in the original Italian with projected English supertitles, to aid the audience in following the operaĺ─˘s twisty plot.

With this production, Oberlin Opera Theater will also introduce new initiatives designed to help audience members delve deeper into the production. On the evening of the opera, engaging program notes by Tom van Nortwick, the collegeĺ─˘s Nathan A. Greenberg Professor of Classics, will explore the history of disguise, a key element of the plot, offering an intellectual counterpoint to the music. Before the curtain rises, a new blog, Too Many Notes (a tongue-in-cheek reference a famous criticism of Mozartĺ─˘s operatic style), will follow cast member Cree Carrico, an Oberlin junior portraying the role of Despina, as she rehearses and performs in the production. The blog has launched and is being updated regularly at inside.oberlin.edu/toomanynotes. In her first few entries, the soprano has taken readers backstage with diva Denyce Graves, mused on the makings of a successful singing career, and documented her musical jaunt to New York, taking in two Met operas and two Broadway musicals.

ĺ─˙These new approaches are designed to engage the entire community in the process of creating and interpreting opera,ĺ─¨ says director Jonathon Field. ĺ─˙The blog will make visible the behind-the-scenes elements of the production, as well as the day-to-day experiences of a young singer, while the program notes will, we hope, foster an intellectual dialogue about the opera and its themes.ĺ─¨

Performers and Production Teamĺ─«The cast for this production of CosłĘ fan tutte is comprised entirely of Oberlin Conservatory students. Principal roles are double-cast; one cast appears on Wednesday and Saturday, and the other on Friday and Sunday. Principal roles will be played by Stafford Hartman ĺ─˘09 and Kelsey Stark ĺ─˘11 (Fiordiligi), Summer Hassan ĺ─˘11 and Julia Dawson ĺ─˘11 (Dorabella), Cree Carrico ĺ─˘11 and Sydney Mancasola ĺ─˘11 (Despina), Chad Grossman ĺ─˘10 and George Somerville ĺ─˘11 (Ferrando), Joseph Lattanzi ĺ─˘10 and Dominic Johnson ĺ─˘12 (Guglielmo), and Gerard Michael Dĺ─˘Emilio ĺ─˘11 and Brian Mextorf ĺ─˘12 (Don Alfonso).

About the Conductor: Bridget-Michaele Reischlĺ─«Bridget-Michaele Reischl is music director of the Oberlin Orchestras and associate professor of conducting at the Oberlin Conservatory of Music. Since becoming the first American to win Italyĺ─˘s Antonio Pedrotti International Conducting Competition in 1995, Reischl has been an active guest conductor throughout the United States and internationally, appearing with such orchestras as the Atlanta and Milwaukee symphonies and the Brooklyn Philharmonic. She is also music director of the Green Bay Symphony Orchestra in Green Bay, Wisconsin, a position she has held since 2001. A graduate of the Eastman School of Music and a student of Robert Spano, Reischl continued her studies as a conducting fellow at both the Aspen and the Tanglewood music festivals, where she worked with Seiji Ozawa, Murray Sidlin, and David Zinman. She has recorded on the Velut Luna, CRI, and Sea Breeze Record Company labels.

Reischl has been on the faculty since 2005 and has participated in a number of notable Oberlin projects, most recently conducting the Oberlin Conservatory Symphony Orchestraĺ─˘s Walt Disney Concert Hall debut in January 2009. In 2005-06, she led the Oberlin Conservatory Symphony Orchestra on a concert tour of China; a recording from that tour, The Oberlin Orchestra in China, was released in 2007 on the Oberlin Music label. She has also conducted conservatory singers in opera performances in Arrezzo, Italy, as part of the conservatoryĺ─˘s summertime Oberlin-in-Italy program.ĺ─«ĺ─«About the Director: Jonathon Fieldĺ─«Jonathon Field is one of Americaĺ─˘s more versatile and popular stage directors, having directed more than 100 productions in all four corners of the United States. He served as artistic director of Lyric Opera Cleveland for six seasons, where he presented the operas of Mozart, Rossini, and Donizetti as well as the Ohio premieres of works by John Adams, Mark Adamo, and Philip Glass. Fieldĺ─˘s productions for the Lyric Opera of Chicago, among them Trouble in Tahiti, Gianni Schicchi, The Old Maid and the Thief, and The Spanish Hour, were so successful they were repeated at the Illinois Humanities Festival with Stephen Sondheim as keynote speaker. Fieldĺ─˘s productions of La Cenerentola and Die Fledermaus for San Francisco Operaĺ─˘s Western Opera Theatre played in more than 20 states, as has an updated version of La Bohł«me for Seattle Opera. In addition to the standard Italian and German repertoire, he has directed Eugene Onegin and Boris Godunov in the original Russian in San Francisco; he had a great critical success there as well with Prokofievĺ─˘s The Love for Three Oranges. Over the past eight years Field has directed 10 productions with the Arizona Opera, being deemed by the press ĺ─˙their most perceptive stage director,ĺ─¨ and working there with such esteemed artists as Teresa Zylis-Gara, Jerome Hines, Pablo Elvira, Giorgio Tozzi, and Angelina Reux.

In February 2007, Field directedĺ─ţat Oberlin and at Miller Theatre in New York Cityĺ─ţthe U.S. premiere of Lost Highway, the dramatic music theater work by noted Austrian composer Olga Neuwirth based on the David Lynch film. The opera received critical acclaim from the New York Times and musicalamerica.com, which made special reference to Fieldĺ─˘s direction. This is Fieldĺ─˘s 12th season with Oberlin Opera Theater.ĺ─«ĺ─«

Tickets for CosłĘ fan tutte at Oberlin Opera Theater are $5 for all students; $8 for Oberlin College faculty, staff, alumni, parents, area educators, and seniors; and $12 for the general public. Season subscriptions are also available. All seats are reserved. Tickets may be purchased online, at www.oberlin.edu/artsguide/tickets; by calling Oberlinĺ─˘s Central Ticket Service (CTS) 440-775-8169 or 800-371-0178; or by visiting the box office, located in the lobby of Hall Auditorium. CTS hours are from noon to 5 p.m., Monday through Friday and select Saturdays. Tickets are $3 more when purchased at the door. Hall Auditorium is wheelchair accessible, and hearing enhancement is available upon request. Free parking is available throughout the campus.ĺ─«ĺ─«

The Oberlin Conservatory of Music, founded in 1865 and situated amid the intellectual vitality of Oberlin College since 1867, is the oldest continuously operating conservatory in the United States. The Conservatory is renowned internationally as a professional music school of the highest caliber and has been pronounced a ĺ─˙national treasureĺ─¨ by the Washington Post. Oberlinĺ─˘s alumni have gone on to achieve illustrious careers in all aspects of the music world. Many of them have attained stature as solo performers, composers, and conductors, among them Jennifer Koh, Steven Isserlis, Denyce Graves, Franco Farina, Christopher Robertson, Lisa Saffer, George Walker, Christopher Rouse, David Zinman, and Robert Spano. All of the members of the contemporary sextet eighth blackbird, most of the members of the International Contemporary Ensemble, and many of the members of Apolloĺ─˘s Fire are Oberlin alumni. In chamber music, the Mirłä, Pacifica, Juillard, and Fry Street quartets, among other small ensembles, include Oberlin-trained musicians, who also can be found in major orchestras and opera companies throughout the world. For more information about Oberlin, please visit www.oberlin.edu/con. ĺ─«ĺ─«

Hall Auditoriumĺ─«67 N. Main Street ĺ─«Oberlin, Ohioĺ─«ĺ─«Reserved seats: $12; seniors $8; students $5ĺ─«All tickets are $3 more when purchased at the door.ĺ─«Online: www.oberlin.edu/artsguide/ticketsĺ─«Phone: 440-775-8169 or 800-371-0178ĺ─«Central Ticket Service is located in the lobby of Hall Auditorium.ĺ─«Open Noon to 5 p.m., Mondayĺ─ýFriday ĺ─«

A Concert of New Works Performed by Soprano and Baritone Up-and-Comers

BOSTON, MA - On Thursday, November 19, 2009 at St. Paul's Church in Brookline contemporary soprano and actor, Aliana de la Guardia and baritone, Jonathan Nussman, will present an eclectic collection of works featuring four living composers assorted with works by Berg, Brahms, and Barber with Pianist Hisako Hiratsuka. With Nussman's sophisticated musicality and de la Guardia's grit and intensity, this spunky young duo presents an interesting and varied program of new and traditional repertoire suitable for a contemporary audience.

The composers to be featured are Marti Epstein, Rudolf Rojahn, John Murphree, and Masaki Hasebe whose radically different works make for an exciting concert on their own.

Hasebe's Mi-da-re-ga-mi for soprano and piano is sung in Japanese and features the sensual poetry of Akiko Yosano. This was commissioned by Hiratsuka and de la Guardia.

Murphree's duet for male and female voices and pre-recorded sound is farthest from traditional art song.

Epstein's Lenz is from poetry by Kandinsky, who was one of the foremost abstract/expressionist painters of the early 20th century. His Lenz is an attempt to accomplish in poetry form something along the lines of what he could accomplish in his paintings. Epstein's setting is simultaneously simple and deceptively complex. She works with the poetry to create images and feelings that are open to free interpretation by the listener, much like viewing a Kandinsky canvas.

"I chose Kandinsky's poetry because I love his paintings so much; I felt this was a way to make a musical connection to him as an artist. Jonathan Nussman and I met last year when we gave a performance of some songs by John Murphree. I was very impressed with the beauty of Jonathan's voice as well as his musical intelligence, and I immediately thought of asking him to present the premiere of these songs. We gave the first performance last month, and I am still hearing comments from people about the beauty and intensity of Jonathan's performance." - Composer Marti Epstein

Scored for soprano and violin Rojahn's Dodo as Avian Christ is a setting of first-hand historical accounts of the discovery and slaughter of the famous flightless bird which would become the earliest and most famous example of animal extinction.

"The dodo's role as one of the earliest concrete examples of animal extinction in Western culture provided a jumping off point for the work. The text was taken from a variety of first-hand historical accounts of the infamous bird assembled into a five movement arc. The piece chronicles the dodo's discovery, slaughter, extinction and ultimate rebirth as a martyr and cautionary tale." - Composer Rudolf Rojahn

Dodo as Avian Christ will be premiered by Gabriela Diaz and de la Guardia, the violin and soprano duo that performed Kurtł░g's Kafka Fragments last February at The Boston Conservatory New Music Festival and for PRI's The World.

November 19, 2009 at 8pmSt. Paul's Church, 15 St. Paul Street, Brookline, MA$12.00 General AdmissionPurchase tickets online at http://www.dirtypaloma.com or cash only at the door.

Vancouver, BC ~ A living legend of the opera podium and three of the worldĺ─˘s most thrilling singers come together for Vancouver Operaĺ─˘s season-opening production of Belliniĺ─˘s Norma, November 28 - December 5, 2009. Stunning, searing and filled with raw emotion, Norma will transport audiences with gorgeous singing and tragic drama about the harsh realities of love across enemy lines.

Legendary maestro Richard Bonynge returns to VO after beginning his 47-year career at the very same podium in 1963. On stage will be Armenian soprano Hasmik Papian, one of the worldĺ─˘s most in-demand Normas; celebrated Canadian tenor Richard Margison, fresh from performances of Aida at The Metropolitan Opera; and fast-rising mezzo-soprano Kate Aldrich, who has been getting rave reviews everywhere she sings.

Opening night is Saturday, November 28, 2009, with subsequent performances Tuesday, December 1, Thursday, December 3 and Saturday, December 5. All performances take place at the Queen Elizabeth Theatre, Georgia and Hamilton Streets, Vancouver B.C. and begin at 7:30 p.m. Tickets starting at $29 are available exclusively at the Vancouver Opera Ticket Centre, online at www.vancouveropera.ca or by telephone (604-683-0222). See complete ticket information below.

This haunting and dramatic opera of love across enemy lines has only been performed in Vancouver three times, the last time being almost 20 years ago. Norma was first staged by VO in 1963 under Founding Artistic Director Irving Guttman, with rising young stars Joan Sutherland and Marilyn Horne. For this Golden Anniversary production, original conductor Richard Bonynge is back 46 years later, ready to again lead this tender and intense opera.

The Story in Brief

Ancient religion and modern military force clash in this gripping and tragic tale. Passion leads to death when Norma, a powerful Druid priestess, has a secret affair ĺ─ý and two children ĺ─ý with Pollione, the commander of the occupying Roman army. When she discovers that Pollione has seduced a young acolyte, Norma faces her own terrible guilt and pays for her betrayal of her people through a shocking act of self-sacrifice. Read a full synopsis at www.vancouveropera.ca.

The Singers

Making her VO debut is Armenian soprano Hasmik Papian, who has appeared at The Metropolitan Opera and in leading houses around the world. Ms. Papian is featured on the definitive DVD version of Norma, on the Pro Arte label. She is sure to impress with raw emotion and vocal fireworks as she takes on one of the most difficult opera roles in the repertoire.

Canadian tenor (and Victoria native) Richard Margison, sings Pollione, the Roman commander whom Norma cannot resist. Mr. Margison, who last appeared with VO in memorable performances as Florestan in 2008ĺ─˘s Fidelio, has been described as ĺ─˙magnificentĺ─¨, ĺ─˙sublimeĺ─¨, and ĺ─˙radiatingĺ─¨.

Also making her VO debut is mezzo Kate Aldrich as Adalgisa. Among many roles, Ms. Aldrich has been praised for her fiery Carmen at the Met and San Francisco Opera, and for her touching Adalgisa in Miami. ĺ─˙In many ways the American mezzo-soprano Kate Aldrich stole the show... Aldrich is destined for operatic stardom!ĺ─¨ raved the Miami Coral Gables Gazette.

Bass Alain Coulombe, who charmed audiences as Zuniga in last seasonĺ─˘s record-breaking Carmen returns to sing the archdruid Oroveso. Also appearing are John Arsenault as Flavio and Barbara Towell as Clotilda.

Conducting the Vancouver Opera Orchestra and Vancouver Opera Chorus (Leslie Dala, Chorus Director) will be celebrated Maestro Richard Bonynge. Maestro Bonynge conducted his first opera, Faust in Vancouver in 1963. That same year he conducted Joan Sutherland and Marilyn Horne in the now-legendary performance of Norma. During his tenure as VOĺ─˘s Artistic Director during the 1970s, he founded the VO Orchestra, which gave its first performances in 1977. VO is pleased to salute the companyĺ─˘s venerable history by welcoming Maestro Bonynge to the podium to kick off the Golden Anniversary season.

The stage director is Emmy-nominated Tazewell Thompson, who helmed VOĺ─˘s memorable production of Dialogues of the Carmelites in 2005. Born in New York City, Mr. Thompson wrote and directed the acclaimed musical Constant Star. He was nominated for an Emmy Award for Best Director for the televised performance of his production of Porgy and Bess.

Background

Norma is one of the great bel canto masterpieces. Vincenzo Belliniĺ─˘s haunting melodies, dramatic scene-painting and tender and intense emotions have been praised by no less than Richard Wagner, who loved the operaĺ─˘s rich flow of melody and deep glow of truth.

The role of Norma is considered one of the most difficult in the soprano repertoire, not only for the vocal control required, but also for the tremendous range of emotion: romance, maternal love, friendship, jealousy, murderous intent and resignation. The aria ĺ─˙Casta Divaĺ─¨ was one of the most familiar of the nineteenth century and remains popular today. Norma has also been a signature role of Maria Callas, Beverly Sills and others.

Norma premiered at Teatro alla Scala in Milan on December 26, 1831. Unlike Belliniĺ─˘s other operas, the premiere was a fiasco, yet the second and all subsequent performances were received with extraordinary acclaim.

Although Norma is considered one of the best examples of bel canto with its lyrical singing, it was also innovative for its long, sustained melodies, dignified fervour and feeling of earnest truth. Richard Wagner praised it: ĺ─˙I admire its rich melodic vein together with its most intimate passion; a score which speaks to the heart and is the work of a genius.ĺ─¨

Full Ticket Information

Single tickets starting at $29 (plus handling fee) are available from the Vancouver Opera Ticket Centre, online at www.vancouveropera.ca, or by phone at 604-683-0222. Visa, MasterCard and American Express are accepted.Groups: For special pricing for groups of ten or more, call 604-683-0222.

Learn MoreOpera Speaks @ VPL ĺ─ý a free public forum:Monday, November 9, 2009, 7-9 pmAlice MacKay Room, Vancouver Public Library, Central BranchAdmission is free.ĺ─˙The Golden Age of Vancouver Opera.ĺ─¨Join Richard Bonynge, Irving Guttman, and William Littler (former Music Critic at the Toronto Star) for an evening of nostalgia and celebration, as VO looks back at its first 50 years.

October 27, 2009; Monterey, California; The Monterey Jazz Festival, a leader in jazz education since its inception in 1958, is pleased to announce the 6th Annual Next Generation Festival, featuring the nationĺ─˘s most talented middle school, high school, conglomerate school, and college jazz musicians and vocalists. The Next Generation Festival will take place in historic downtown Monterey from April 9 - 11, 2010.

Now in its 6th successful year in downtown Monterey, the Next Generation Festival evolved from MJF's "California High School Jazz Competition" which started in 1971 and was presented at the Monterey County Fairgrounds for 35 of its 40-year run. Now named the Next Generation Festival, the weekend salute to the future of jazz has expanded to include middle school, conglomerate school, and college level musicians and vocalists.

The Next Generation Festival Jazz Competition is now accepting applications from middle school, high school, and college big bands; from high school and college level conglomerate bands; and from high school combos and vocal jazz ensembles through January 22, 2010. Application forms may be downloaded at the Monterey Jazz Festivalĺ─˘s website, www.montereyjazzfestival.org. The application process is free of charge, as is participation in the prestigious event.

A three-year grant from the Surdna Foundation supports the Next Generation Festival and the Next Generation Jazz Orchestra's international tours. The Surdna Foundationĺ─˘s Arts Program is national in scope and supports the artistic advancement of teens, ages 12 - 18.

Next Generation Festival finalists are selected through recorded auditions reviewed and ranked by faculty from the Berklee College of Music, and will include twelve big bands, six combos, and eight vocal ensembles in the High School Division. Six college-level big bands and six college vocal ensembles will also be selected, in addition to six conglomerate and six middle school big bands.

New for 2010 is the Open Combo Division for college and conglomerate high school ensembles. Six finalist combos will be selected to participate in this newest division. In addition, specially-invited groups will also perform. In 2009, over fifty groups from across the United States as well as international groups from the U.K. and Japan attended the Next Generation Festival.The high school, conglomerate school, and college divisions of the Next Generation Festival Jazz Competition are open to superior rated big bands, combos, and vocal ensembles. The top big bands, combo, and vocal ensemble will win cash awards and be invited to perform at the 53rd Annual Monterey Jazz Festival, September 17 - 19, 2010.

Auditions will also be held for chairs in the Monterey Jazz Festivalĺ─˘s Next Generation Jazz Orchestra, which is slated to tour at jazz venues and festivals throughout North America, as well as being featured on the Monterey Jazz Festival's Sunday afternoon Arena/Lyons Stage.

The event also includes a big band composition competition, open to high school composers, with the winning piece to be debuted at the 53rd Annual Monterey Jazz Festival by the Next Generation Jazz Orchestra. Judged by college faculty from leading music schools across the country, the winning composer will receive the Gerald Wilson Award and a cash prize, with the winning composition to be performed by the Next Generation Jazz Orchestra at the 53rd Annual Monterey Jazz Festival, September 19, 2010, on the Jimmy Lyons Stage in the Arena before a crowd of thousands.

ĺ─˙Plans are well underway for making our 6th annual Next Generation Festival another exciting MJF event,ĺ─¨ said Dr. Rob Klevan, Education Director for the Monterey Jazz Festival. ĺ─˙April 9 - 11, 2010, is a special weekend as it marks the 40th anniversary for the Monterey Jazz Festivalĺ─˘s High School Competition, but for anyone who has ever attended the Next Generation Festival, itĺ─˘s clear that our emphasis is on presenting a ĺ─˛festivalĺ─˘ as the very best of the next generation of jazz musicians, from middle school to college, gather in Monterey to perform, listen, learn, and enjoy this great American music, jazz. For students, teachers, and jazz fans alike, the celebratory atmosphere and festive vibe at the Next Generation Festival is what makes this event so fun and special.ĺ─¨

All Next Generation Festival events and activities -- from Friday night's Kick-Off Concert through Saturday and Sunday's Next Generation Festival Jazz Competition -- are open to the public, free of charge. The Festival will also conduct clinics, workshops, jam sessions, and auditions in the heart of historic Monterey, with music to be performed at the Monterey Conference Center, the host Portola Plaza Hotel, Fishermanĺ─˘s Wharf, Cannery Row, and a downtown jazz club.

Interested schools and students should visit www.montereyjazzfestival.org for instructions on how to apply to the Next Generation Festival. Applications with an audition tape/CD should be mailed to: Next Generation Festival, c/o Dr. Rob Klevan, Jazz Education Director, 9699 Blue Larkspur Lane, Suite 204, Monterey, CA, 93940.

Featured during the weekend of music will be the four-time Grammy-winning vocalist, Dianne Reeves, who has been selected as the MJFĺ─˘s Artist-In-Residence for 2010. As MJFĺ─˘s Artist-In-Residence, Reeves will work year-round with young student musicians in performances, clinics and one-on-one sessions at the Next Generation Festival and the MJF Summer Jazz Camp, in addition to performing at the Monterey Jazz Festival and at other MJF concerts and events throughout the year. Started in 2004, the MJF Artist-In-Residence program has brought Regina Carter, Branford Marsalis, Kurt Elling, Terence Blanchard, Christian McBride, and members of the Jazz at Lincoln Center Jazz Orchestra to the Monterey Bay; their involvement and interaction with students provides a unique educational opportunity through mentorship that will last a lifetime.

About Dianne Reeves

A Blue Note recording artist since 1987, Dianne Reeves is the pre-eminent jazz vocalist in the world today. As a result of her virtuosity, improvisational prowess and unique jazz and R&B stylings, Reeves was awarded the Grammy for ĺ─˙Best Jazz Vocal Performanceĺ─¨ for three consecutive recordings (In The Moment: Live in Concert (2000); The Calling (2001) and A Little Moonlight in 2003) -- a Grammy first in any vocal category. She has recorded eighteen albums as a leader, and has appeared on dozens of others with such artists ranging from Stanley Turrentine, Steps Ahead, Lou Rawls, McCoy Tyner, George Duke, T.S. Monk, Lenny White, Christian McBride, Nicholas Payton, Terence Blanchard, and many more.

Born in Detroit and raised in Denver, Colorado, Reeves has additionally recorded and performed extensively with Wynton Marsalis and the Lincoln Center Jazz Orchestra; recorded with Chicago Symphony Orchestra (conducted by Daniel Barenboim); and was a featured soloist with Sir Simon Rattle and the Berlin Philharmonic. In 2002, Reeves performed at the closing ceremonies of the Winter Olympics in Salt Lake City, Utah, and also made an appearance and performance on the season finale of HBO's Sex and the City. In 2003, Reeves was appointed to be first Creative Chair for Jazz for the Los Angeles Philharmonic and became the first singer to ever perform at the famed Walt Disney Concert Hall.ĺ─«ĺ─«Continuing to blend screen and song, in 2005, Reeves appeared and performed in George Clooneyĺ─˘s Good Night, and Good Luck, the Academy Award-nominated film that chronicles Edward R. Murrowĺ─˘s confrontation with Senator Joseph McCarthy. The soundtrack recording of Good Night, and Good Luck provided Reeves her fourth Best Jazz Vocal Grammy in 2006.

ĺ─«In 2007, Reeves was featured in Robert Leviĺ─˘s Emmy, Peabody and Writers Guild Award-winning documentary, Billy Strayhorn: Lush Life. After several years of extensive touring, Dianne took a break back in Denver, and in 2008, she released her first Blue Note album of new material in five years, When You Know. MJF/53 in 2009 will be her ninth performance at the Monterey Jazz Festival -- she has previously appeared in 1984, 1986, 1988, 1990, 1993, 1996, 2000, and 2006.

About the Monterey Jazz Festival

The Monterey Jazz Festival, founded in 1958, is a nonprofit organization and is dedicated to perpetuating the uniquely American form of music known as jazz by producing performances that celebrate the legacy and expand the boundaries of jazz; and by presenting year-round local, regional, national, and international jazz education programs. These hands-on, cutting-edge educational components include the Traveling Clinician and Latin Jazz Programs, with professional musicians visiting Monterey County schools to teach students how to play and improvise in jazz and Latin styles; the Artist-In-Residence Program, which brings a leading jazz performer to work with students throughout the year; the MJF Summer Jazz Camp, the MJF Instrument and Sheet Music Library, the MJF Digital Music Education Project, the Next Generation Festival, the Monterey County High School All-Star Band, the MJF Middle School Honor Band and MJF Vocal Jazz Ensemble, and the Next Generation Jazz Orchestra.

Michael Kaeshammer with special guest Jill Barber - Saturday, November 21, 2009 at 8 PM, Koerner Hall at The Royal Conservatory

According to the popular website All About Jazz, virtuoso jazz pianist and vocalist Michael Kaeshammer is ĺ─˙an artist brimful with talentĺ─¨ and ĺ─˙is the kind of troubadour who is instantly recognizable because of his sharp inflection and delicate phrasingĺ─¨. One of the most exciting, young, jazz pianists in the country today, Kaeshammer garnered accolades throughout the Canadian Music Industry for each of his three Juno Award nominated recordings No Strings Attached, Strut and Days Like These; and has gone on to establish an international following for his dynamic live performances. Hot on the heels of two stellar sold-out shows at the Glenn Gould Studio, Michael Kaeshammer performs at 8PM at Koerner Hall at The Royal Conservatory on Friday, November 21, 2009.

Beloved for his captivating live performances, Kaeshammerĺ─˘s on-stage presence is nothing less than charming, endlessly energetic and irresistibly engaging. His Koerner Hall debut will feature a 3-piece horn section along with Michaelĺ─˘s renown live rhythm players, musicians Marc Rogers (bass) and Mark McLean (drums).)

After studying classical piano for seven years in his German homeland, a 13-year-old Kaeshammer (pronounced "case-hammer") discovered boogie-woogie and stride piano as played by Albert Ammons, Meade Lux Lewis, Pete Johnson, Pinetop Smith, and Fats Waller. In three years, the teen wunderkind was playing boogie-woogie piano in clubs, concerts, and festivals all over Germany. He attracted attention almost immediately after the family moved to the west coast of Canada, turning heads at performances at blues and jazz festivals across the country during the summer of 1996.

The Toronto-based Kaeshammer is best known in Canada, but has performed and toured extensively in the United States and Europe. Some of his most popular songs are "On a Saturday Night" from the album No Strings Attached, "Comes Love" from Strut, and "Cinnamon Sun" from Days Like These. Still in his early 30ĺ─˘s, Michael Kaeshammer is a 3-time Juno Award nominee, and the winner of the 2002 West Coast Music Awardsĺ─˘ Musician of the Year and Performer of the Year. His sixth album, Lovelight -- a recording that is being hailed as his best work to date is produced and co-written by Ron Lopata (Jacksoul, Tomi Swick). For more information please visit www.michaelkaeshammer.com

Special guest, Jill Barber is an award-winning Canadian singer-songwriter. Barber won the Female Artist Recording of the Year award for her debut album Oh Heart at the 2005 Music Nova Scotia Awards. In 2007 Barber earned her fourth win as Best Local Solo Artist (Female) in The Coastĺ─˘s annual "Best of Music Readerĺ─˘s Poll", and her first win as Best Canadian Solo Artist (Female). For more information please visit www.jillbarber.com.

Diana Krall 'Live In Rio: Special Edition' 2-DVD Set - In Stores Today

Diana Krall is a truly noteworthy artist, both as a singer/songwriter and performer. Today, Eagle Rock Entertainment releases the perfect showcase of her matchless brand of creativity - the Live In Rio: Special Edition 2-DVD set.

This stunning concert was originally released on single DVD and Blu-ray on May 26, 2009 (Eagle Rock), and quickly hit #1 on the Canadian Music DVD SoundScan charts. Diana Krall captivates the crowd through eighteen evocative tunes, which are all standards interpreted through her unique style. Classics like "Too Marvelous For Words," "I've Grown Accustomed To His Face," and "Walk On By," are imbued with her sumptuous blend of jazz, samba, and bossa nova. Many of these songs are from her recently released Quiet Nights album (Verve, Spring 2009), on which she explored her longtime fascination with bossa nova. On this night in Rio de Janeiro, filmed in November of 2008, Krall allows her passion for this music to flourish in the city which inspired her love of latin styles, while accompanied by her band and an orchestra.

This special edition 2-DVD set features not only the bonus material from the standard DVD ("Conversations," an interview with Krall and her band, and "The Boy From Ipanema" promotional film), but also a second disc with extra live material recorded in Canada, Spain and Portugal. The 5-track "Rooftop Sessions" (previously available only on the Blu-ray version) and the promotional film for "Quiet Nights" complete the disc. Live In Rio: Special Edition captures Diana Krall at her scintillating best.

Since her debut in 1993, Diana Krall has topped both the pop and jazz charts, selling millions of records worldwide. Her previous Eagle Rock release Live In Paris (April 4, 2002) has surpassed 6x platinum in Canada and is one of the top selling DVDs worldwide for Eagle Rock. In her 17-year career, this Grammy-Award winning artist has also accrued an international fan base, having sold out amphitheaters in many countries.

Eagle Rock Entertainment is an international media production and distribution company operating across audiovisual entertainment programming. Eagle Rock Entertainment works directly alongside talent to produce the highest quality programming output covering film, general entertainment and musical performance. Eagle Rock Entertainment has offices based in London, New York, Germany, France & Toronto. For more information, visit: www.eaglerockent.com.

Track Listing:Disc 1:1.) I Love Being Here With You2.) Let's Fall In Love3.) Where Or When4.) Too Marvelous For Words5.) I've Grown Accustomed To His Face6.) Walk On By7.) Frim Fram Sauce8.) Cheek To Cheek9.) You're My Thrill10.) Let's Face The Music And Dance11.) Every Time We Say Goodbye12.) So Nice13.) Quiet Nights14.) Este Seu Olhar15.) The Boy From Ipanema16.) I Don't Know Enough About You17.) S'Wonderful18.) Exactly Like You

Disc 2:Canada:1.) Where Or When2.) Exactly Like You3.) Walk On By4.) Deed I Do5.) Quiet Nights6.) Frim Fram Sauce7.) A Case Of You8.) I Don't Know Enough About You

Madrid:1.) Deed I Do2.) So Nice3.) P.S. I Love You

Lisbon:1.) Walk On By2.) Este Seu Olhar

The Rooftop Sessions:1.) The Boy From Ipanema2.) Too Marvelous For Words3.) Cheek To Cheek4.) Quiet Nights

Foodies invited to join the WSO on a multicultural tour of music and food

Winnipeg, MB ĺ─ý October 26, 2009 ĺ─ý Winnipeg foodies are invited to explore the world of music and food as the Winnipeg Symphony Orchestra (WSO) and four fine dining establishments partner up to provide lovers of fine cuisine and symphony music with a multicultural experience ĺ─ý all in one location at the Centennial Concert Hall.

The Winnipeg Symphony will be presenting a multicultural tour of food and music in partnership with: Bergmannĺ─˘s on Lombard, Fude, Bistro 7 Č║ and Lobby on York.Each restaurant will be offering a three course meal that is themed to a specific WSO concert - thereby offering patrons a unique opportunity to explore cuisine from Russia, the New World, North America, Italy and Mexico.

ĺ─˙The WSO wants to create memorable musical experiences for audience members. One way we can do this is by considering the opportunities to build other pleasurable components into a concert evening. Winnipeg has so many fine restaurants and chefs, and we can make it easy to explore new restaurants with cuisine inspired by the musical offerings in the concert,ĺ─¨ said Trudy Schroeder, Executive Director of the Winnipeg Symphony Orchestra.

The dates of the five dining and concert experiences are as follows:

October 31Dvorakĺ─˘s New World Symphony explores the multicultural blend of Native and African- American musical traditions in partnership with Bergmannĺ─˘s on Lombard (dinner at 5:30 pm)Click here to listen to the Musically Speaking radio show on CJOB. In this clip, Executive Chef Dave Bergmann discusses the process of creating the menu of this Saturday's Dinner and a Symphony and how it complements the music.

February 20Boreyko and Russian Masters explores the monumental and raw with former WSO music director Andrey Boreyko in partnership with Bistro 7 Č║ (dinner at 5:30 pm). Menu to follow.

May 15Pines, Fountains & Festivals explores the colour and pageantry of Rome brought to life through Respighiĺ─˘s stunning orchestral trilogy in partnership with Lobby on York (dinner at 5:30 pm). Menu to follow.

Prices are $85 per person for each event (includes meal and a ticket to the concert).

Edmonton, AB ĺ─Â The Edmonton Symphony Orchestra (ESO) invites you to their 2nd annual wine tasting fundraiser, Flavours of Portugal. On February 10th, 2010, the ESO hosts an epic wine tasting event ĺ─ý the largest Portuguese wine tasting in the province of Alberta ĺ─ý with winery representatives on hand to showcase their finest wines and ports at the Francis Winspear Centre for Music.

Guests will be treated to delectable hors dĺ─˘oeuvres and magnificent music by special guests, and will have the opportunity to bid on wonderfully unique items in both a live and silent auction. All proceeds to support the ESO.

Guests may register for the auction beginning at 6:30 pm on February 10th. The wine and port tasting will begin at 7:00 pm and proceed until 10:00 pm. A short live auction program will take place at approximately 8:15 pm.

Only 400 tickets are available for this fundraising event and are on sale now! Event tickets can be purchased through the Winspear Centre Box Office for $125. Call (780) 428-1414, toll free 1-800-563-5081, or purchase online at www.edmontonsymphony.com. A tax deductible receipt will be issued for a portion of the ticket cost.

This ESO special event is made possible by the generous support of deVine Wines and Spirits, California Closets, 96.3 Capital FM, Avenue Edmonton, Edmonton Journal, and the Francis Winspear Centre for Music.

Choreographer Mark Morris to Direct Public Workshop

AMERICAN OPERA PROJECTS PRESENTS SELECT SCENES FROM HERSCHEL GARFEIN'S OPERA"ROSENCRANTZ AND GUILDENSTERN ARE DEAD"FRIDAY AND SATURDAY NOVEMBER 20 AND 21

CHOREOGRAPHER MARK MORRIS TO DIRECT PUBLIC WORKSHOPIN BROOKLYN BASED ON TOM STOPPARD'S AWARD-WINNING PLAY

AMERICAN OPERA PROJECTS (AOP) will present select scenes from: Rosencrantz and Guildenstern are Dead, the first opera ever to be adapted from a play by Tony-winning playwright Tom Stoppard. The opera-in-development by Herschel Garfein (librettist, Elmer Gantry; composer, American Steel) will feature baritones Keith Phares and Matthew Burns in the title roles under the direction of Mark Morris (The Met's Orfeo ed Euridice, NYCO's King Arthur). The program will be presented on Friday, November 20 and Saturday, November 21, at 4 PM at the Mark Morris Dance Center, 3 Lafayette Ave. in Fort Greene, Brooklyn. Tickets are $20 / $15 for students and seniors, available at www.operaprojects.org. A post-show discussion with composer/librettist Herschel Garfein and director Mark Morris moderated by Michael MacLeod, General & Artistic Director of Glimmerglass Opera, will follow the Saturday, November 21 performance.

Rosencrantz and Guildenstern are Dead is the first full-length opera to be adapted from a work by British playwright Tom Stoppard. Adapted and composed by Herschel Garfein, Rosencrantz and Guildenstern are Dead is based on the 1967 Tony Award-winning play that retells the story of Hamlet from the point-of-view of two minor characters in the Shakespeare play. Allowed only a highly restricted view of the tumultuous events of Hamlet unfolding around them, and deceived by nearly everyone, Rosencrantz and Guildenstern play games to pass the time and tirelessly devise strategies to make sense of their place in the grander scheme.

Choreographer and director Mark Morris will direct a cast of notable young performers in the piano-vocal workshop of scenes, including baritones Keith Phares (San Francisco Opera, Glimmerglass) and Matthew Burns (Met Opera, NYCO) in the title roles, Matthew Curran (Seattle Opera) as The Player, and Lucy Schaufer (Met Opera, Washington National Opera) as Alfred/Osric. The workshop will also feature performances from singers Constance Hauman, Matt Morgan, Martin Hargrove, Chad Sloan & Caleb Stokes. Steven Osgood (NYCO's La Navarraise) will music direct, with Kelly Horsted on piano. Morris and Garfein last collaborated on the dance triptych Mythologies (BAM, Thłęłótre Royal de la Monnaie, Manhattan Center).

The workshops and post-show discussion represent AOP's contribution to OPERA America's first ever National Opera Week (November 13-22, 2009, www.operaamerica.org/now) created to bring the inventiveness and excitement of opera to a broader national audience. As it does with each of its shows, AOP will encourage audiences to participate in the creation of Rosencrantz and Guildenstern are Dead by meeting and speaking directly to the composer, in person and online, and commenting on the show. Most recently AOP audiences helped to create Słęance on a Wet Afternoon, the first opera by Stephen Schwartz, that had its premiere with Opera Santa Barbara in September 2009 and Jorge Martłén's Before Night Falls that will debut at Fort Worth Opera in 2010.

For over 20 years, American Opera Projects (AOP) has been creating, developing and presenting exclusively new American opera and music theatre projects that have appeared at the Royal Opera House (London), the Lincoln Center Festival, Skirball Center at NYU, the Guggenheim Museum, Symphony Space, the U.S. Holocaust Memorial Museum, Israel Vocal Arts Institute (Tel Aviv), Freie Universitłžt Berlin, and many other national and international venues. AOP, based in Fort Greene, Brooklyn, has presented over 15 world premiere operas including Lee Hoiby's This Is the Rill Speaking (2008), Stefan Weisman's Darkling (2006), and Paula Kimper's Patience & Sarah (1998).

The Cleveland Orchestra and Music Director Franz Welser-MłĆstĺ─˘s live recording of Brucknerĺ─˘s Symphony No. 7 to be released on DVD

Recorded at Severance Hall in September 2008

Release is third Bruckner DVD by Franz Welser-MłĆst and The Cleveland Orchestra

CLEVELAND, October 26, 2009 ĺ─ý The Cleveland Orchestra and Music Director Franz Welser-MłĆstĺ─˘s live recording of Brucknerĺ─˘s Symphony No. 7 will be available on DVD on October 27 in the United States. The DVD release coincides with the Orchestraĺ─˘s European tour and its return appearance on November 3 to the Brucknerhaus in Linz, which is named for the Austrian composer. Recorded by WVIZ/PBS ideastreamČĂ at the Orchestraĺ─˘s home, Severance Hall in Cleveland, during subscription concerts on September 25 and 26, 2008, the Bruckner 7 recording is the third Bruckner DVD featuring the Orchestra and Franz Welser-MłĆst.Clasart produced the recording, which will be distributed by Arthaus. The Cleveland Orchestra and Clasart have had a long-term partnership resulting in all three Bruckner DVDs. The Cleveland Orchestra acknowledges both Raiffeisenlandesbank OberłĆsterreich and Clasart for their generous support of the DVD release.

The new DVD represents an ongoing collaboration with WVIZ/PBS ideastream. On June 11, 2008, PBS broadcast ĺ─˙The Cleveland Orchestra in Performance: Bruckner Symphony No. 5,ĺ─¨ recorded in the Abbey of St. Florian in Linz, Austria, by Clasart and produced for U.S. broadcast by WVIZ/PBS. For 15 years, WVIZ/PBS has been the video production partner for The Cleveland Orchestraĺ─˘s annual ĺ─˙Star-Spangled Spectacular Concert and Festivalĺ─¨ at Public Square in downtown Cleveland.

Born in Linz, Austria, Franz Welser-MłĆst often performs and records the music of Austrian composer Anton Bruckner ĺ─ý who famously served as organist at the Abbey of St. Florian, just outside Linz. Mr. Welser-MłĆst has led The Cleveland Orchestra in video recordings of live performances of Bruckner symphonies made in other historic concert venues in addition to Severance Hall: Symphony No. 5 in the Abbey of St. Florian, and Symphony No. 9 in Viennaĺ─˘s Musikverein. During the 2009-10 season, The Cleveland Orchestra will perform Brucknerĺ─˘s Symphony No. 8 under the direction of Mr. Welser-MłĆst.

The release of the Bruckner DVD continues The Cleveland Orchestraĺ─˘s expanded electronic media presence under Franz Welser-MłĆstĺ─˘s music directorship. In September, Decca released a recording featuring Mitsuko Uchida and the Orchestra performing Mozart. This season, the Orchestra is making an all-Wagner recording for Deutsche Grammophon as part of a multi-disc recording project.

* * *

The Cleveland Orchestra has received eight Grammy Awards and 31 Grammy nominations. In addition to recordings released on commercial labels, The Cleveland Orchestra has itself produced five sets of archival recordings: the 75th Anniversary Compact Disc Edition, the George Szell Centennial Compact Disc Edition, the Christoph von Dohnł░nyi Compact Disc Edition, George Szell ĺ─ý Live in Tokyo 1970 (Szellĺ─˘s last recorded concert), and the Robert Shaw Legacy Compact Disc Edition.

Throughout his career, Franz Welser-MłĆst has made numerous critically acclaimed recordings. His recording of Franz Schmidtĺ─˘s Symphony No. 4 won a Gramophone Award for Best Orchestral Recording. More recent releases include HK Gruberĺ─˘s Frankenstein!!, Schmidtĺ─˘s The Book of the Seven Seals, and the world-premiere recording of Johann Strauss Jr.ĺ─˘s Simplicius with the Zurich Opera Orchestra, which won the Deutsche Schallplattenpreis. In addition to audio recordings, Mr. Welser-MłĆst has an extensive number of DVD releases with the Zurich Opera. His DVD recording of Richard Straussĺ─˘s Der Rosenkavalier with the Zurich Opera won a 2005 Diapason dĺ─˘Or award.

Thursday, November 12, 2009

Edmonton Opera Announces Zoie Gardner Award Recipient

Edmonton Opera's opening night reception for Rigoletto October 24 included a special moment in the company's history. Long-time supporter, patron, and volunteer Mary McPhail received the Zoie Gardner Award, the company's annual prize for volunteerism. McPhail, now 87, earned the same award for a lifetime of service more than 18 years ago.

McPhail attended Edmonton Opera's first production in 1963, and she and her late husband, Dr. Bill McLean, were founding supporters of the company. Since then, she's been helping to feed the chorus at rehearsals and performances. Rigoletto's principal cast members Tracy Dahl and Theodore Baerg led a toast to McPhail's lifetime of generosity, raising silver-plated cups that commemorate the many premieres celebrated by a young Edmonton Opera in the 1960's.Zoie Gardner was an active community member in Edmonton, after moving here from England in 1918 at the age of 10; she participated in church, the Opera Guild and the Orchid Society, as well as fostered dozens of abandoned and developmentally-disabled children. Recognized as one of Edmonton's most noteworthy citizens, the book Naming Edmonton: From Ada to Zoie featured her under the letter "Z". She was the recipient of the Order of Canada, Edmonton's Citizen of the Year, Woman of the Year, and received many other honours.

Edmonton Opera's Rigoletto continues at the Northern Alberta Jubilee Auditorium October 27 and 29, 7:30pm nightly. Tickets are available at Ticketmaster, call 780-451-8000 or visit www.ticketmaster.ca.

The Canadian Opera Company produces broadcasts of 2009/10 season for the first time in almost 20 years

Toronto, Ontario ĺ─ý The Canadian Opera Company is pleased to announce that for the first time in almost 20 years, the COCĺ─˘s mainstage season will be broadcast across Canada. The COC has reached an agreement with the artists of the company and the various unions and associations to record all seven operas in its 2009/10 season, and the COC will produce all seven broadcasts.

In conjunction with its Broadcast Partner, CBC Radio 2, each opera in the COCĺ─˘s 2009/10 season will be aired twice nationally on CBC Radio 2 and Radio-Canadaĺ─˘s Espace Musique, and the broadcasts of COC recordings also will be available for internet streaming on both the Canadian Opera Company website, coc.ca, and on CBC Concerts on Demand, cbc.ca/radio2, for a period of 12 months after the initial streaming date.

This new agreement greatly increases the COCĺ─˘s presence on Canadian airwaves and enables the companyĺ─˘s entire season to be heard by Canadians from coast to coast.

As the producer of these recordings the COC will seek other means of extending the reach of its artistic output into new media platforms such as CDs, DVDs and cinecasts, as well as select National Public Radio stations in the United States.

ĺ─˙Extending the COCĺ─˘s reach to areas of the country not presently served by opera is one of my main goals at the Canadian Opera Company. The COC has been so successful in getting people into the opera house, that now itĺ─˘s time for us to go to those who canĺ─˘t come to us,ĺ─¨ says Alexander Neef, General Director. ĺ─˙I couldnĺ─˘t be more pleased that CBC Radio 2 has agreed to be our broadcast partner, and I am equally grateful to the artists who agreed to join in this venture with us. Together we can show the world what weĺ─˘ve known all along ĺ─ý Canadian opera is strong and vital and Canadian artists are among the best in the world.ĺ─¨

The COCĺ─˘s Madama Butterfly will air on CBC Radio 2ĺ─˘s Saturday Afternoon at the Opera on November 28, 2009; The Nightingale and Other Short Fables will air on December 5, 2009. Concerts on Demand and future broadcast dates are yet to be confirmed.

The Canadian Opera Company would like to thank the artists of the company and their representatives: the American Federation of Musicians, Canada; Canadian Actorsĺ─˘ Equity Association; Association of Canadian Television and Radio Artists; and, the Toronto Musiciansĺ─˘ Association.

The Canadian Opera Company would also like to thank Mark Steinmetz, Director, CBC Radio Music, and Neil Crory, Senior Music Producer, CBC Radio, for their support and co-operation in creating this new arrangement to present the Canadian Opera Company to a wider audience.

Broadcast Sponsor: CBC Radio 2

About the Canadian Opera Company

Based in Toronto, the Canadian Opera Company is the largest producer of opera in Canada and fifth largest in North America, and celebrates its 60th anniversary in 2009/10. Under its new leadership of General Director Alexander Neef and Music Director Johannes Debus, the COC continues its international reputation for artistic excellence and creative innovation.

Čů Daniel Barenboim, Barbara Hendricks, Christian Benda join "Tck Tck Tck: Time for Climate Justice" campaignČů Enhances musical focus of campaign as the recently released musical petition "Beds Are Burning" surpasses 200,000 views on YouTubeČů Climate Allies already include over 80 musicians, academics, politicians and celebrities who support Kofi Annan's campaign for a fair, robust and binding climate agreement in Copenhagen in December

Three of the world's great classical musicians have contributed unique musical statements in support of global efforts to address the devastating human impact of climate change. Renowned pianist and conductor Daniel Barenboim, operatic soprano Barbara Hendricks, and cellist and conductor Christian Benda recently became Climate Allies in support of Kofi Annan's "Tck Tck Tck: Time for Climate Justice" campaign.

To the tck of a metronome, the lilt of a human voice, and the crash of piano keys, the video statements by each musician demonstrate that music is an emotionally powerful tool to promote the message of climate justice. The "Time for Climate Justice" campaign has capitalized on the power of music to unite climate justice supporters from around the world. The campaign's newly released musical petition, "Beds are Burning", has received more than 200,000 YouTube views since its launch on October 1, 2009. Everyone is encouraged to become a Climate Ally by downloading the free song or by uploading a brief "Tck" message on the campaign's website (http://www.timeforclimatejustice.org).

Daniel Barenboim emphasized the importance of communicating the campaign's messages through music:

"Music is a medium that transcends cultures, generations, religions and races. [...] Climate change is having an impact on everybody around the world, but the vulnerable and the poor are suffering most. It is my hope that this campaign, with music as an integral part, will give these people a voice on the road to Copenhagen."

"This tragedy is global and demands a global solution [...]. In this tragedy the innocent are the most vulnerable and are the first to suffer from the changing climate. We must have climate justice for all."

Christian Benda's poetic contribution captured the campaign's sense of urgency that time must not be allowed pass by without a firm international agreement to address the impact of climate change on human suffering:

"Time is life...Time is not timeless...Tic, tic, tic...Time is not for sale...Time is not ours...Time is lent to us...Tic, tic, tic..."

Climate justice has, at its heart, the principle that emissions have a price and greenhouse gas emitters must pay. The countries and peoples who will suffer the worst impact of climate change ĺ─ý both now and in the future ĺ─ý have done the least to cause it.

"Copenhagen needs to be the most ambitious international agreement ever negotiated. The alternative is mass starvation, mass migration, and mass sickness. If political leaders cannot assume responsibility for Copenhagen, they choose instead responsibility for failing humanity."

-Kofi Annan

Barenboim, Hendricks and Benda join a roster of high-profile Climate Allies that includes more than 80 other notable musicians, academics and celebrities who are lending their support to Kofi Annan, former UN Secretary-General and President of the Global Humanitarian Forum (GHF), in his campaign for a fair, robust and binding agreement at the UN climate talks to be held in Copenhagen this December. The statements by the three musicians, along with those of other Climate Allies, can be viewed on the campaign's YouTube channel (http://www.youtube.com/time4climatejustice).

Daniel Barenboim

World-famous pianist and conductor Daniel Barenboim was born in Argentina to parents of Russian Jewish descent. He is credited for bringing classical music to a much wider audience, and has also devoted much of his time to fostering global peace through music, including co-founding the West-Eastern Divan orchestra, comprised of musicians from Israel, Palestine and other Middle Eastern countries, with the aim of paving the way for a peaceful solution to the Arab-Israeli conflict. Under Barenboim's direction, the West-Eastern Divan performed in the UN General Assembly Hall as part of a special ceremony to honour Kofi Annan at the conclusion of his term as UN Secretary-General in 2006.

Barbara Hendricks

Barbara Hendricks is an American-born operatic soprano and concert singer. She is also known for her work as a human rights activist. She has been named Honorary Ambassador for Life by UNHCR and performs special tasks for that organization. In 2001 she performed at the Nobel Prize ceremony in Oslo, Norway, at the invitation of Nobel Peace Prize Laureate Kofi Annan.

Christian Benda

Christian Benda is a renowned Czech cellist, composer and conductor. He performs at international venues as both a soloist and a conductor. He has recorded and collaborated with many famous musicians including Barbara Hendricks.

'Tck Tck Tck ĺ─ý Time for Climate Justice' campaign

The Time for Climate Justice campaign aims to highlight the importance of the UN Climate Change Conference (COP15) in Copenhagen in December 2009 and lobby for a fair, robust and binding agreement to succeed the Kyoto Protocol. The campaign is the first major initiative of the Global Alliance for Climate Justice. The campaign was created by Havas Worldwide and was launched earlier this year at the 56th Cannes International Advertising Festival.

Kofi Annan announced the creation of a Global Alliance for Climate Justice at the inaugural Global Humanitarian Forum (GHF) Annual Forum in June 2008. The Alliance is a global movement which aims to raise awareness for climate justice, a concept according to which pollution has a cost and the poor must be supported in adapting to the consequences of climate change.

Founded in 2007, the Global Humanitarian Forum is led by Kofi Annan and brings together stakeholders, including government, business, international organizations, civil society and the general public, to help solve humanitarian challenges. Located in Geneva, the Forum's current focus is to increase awareness on the human face of climate change and to boost support to vulnerable populations worst affected by global warming.http://www.ghf-geneva.org

Cleveland Orchestra performs second concert in Fridays@7 series at Severance Hall on November 20

CLEVELAND, October 23, 2009 ĺ─ý Jonathan Nott, chief conductor of Germanyĺ─˘s Bamberg Symphony Orchestra, will conduct The Cleveland Orchestra in its second Fridays@7 concert, titled Cello and Space, at Severance Hall on Friday, November 20, at 7:00 p.m. Mr. Nott will be making his Cleveland Orchestra debut with concerts on November 19, 20 and 21. The November 20 program features Richard Straussĺ─˘s Also sprach Zarathustra (Thus Spake Zarathustra), Opus 30, which was used prominently in Stanley Kubrickĺ─˘s film 2001: A Space Odyssey. The opening work on the program is Antonłén Dvoë˘ł░kĺ─˘s Cello Concerto in B minor, Opus 104, with Cleveland Orchestra Artist-in-Residence Alisa Weilerstein as soloist. The new Fridays@7 series offers early-evening programs that are about 75 minutes long, performed straight through, followed by informal performances of music curated by Cleveland percussionist Jamey Haddad. Doors open at 5:30 p.m., with bars open to serve drinks and light food. Each concert begins at 7 p.m. and runs without intermission. After the concert, audience members can move to the Bogomolny-Kozerefski Grand Foyer just outside the Concert Hall and sample interesting cuisine, enjoy cocktails, and mingle with musicians while listening to world music. The first concert in the series, featuring Mitsuko Uchida with the Orchestra and Music Director Franz Welser-MłĆst, sold out. On November 20, the featured post-concert performers will be internationally renowned percussionist Jamey Haddad & Friends, including hyper-accordionist Michael Ward-Bergeman and percussionists Keita Ogawa and Dylan Moffitt, who performed with Alisa Weilerstein and The Cleveland Orchestra in Osvaldo Golijovĺ─˘s Azul in April 2009. Theyĺ─˘ll be joined by cellist Alisa Weilerstein and a drum ensemble of 20 musicians from the Oberlin Conservatory of Music and the Cleveland Institute of Music, in what promises to be an electrifying performance.

Fridays@7 ConcertNew Fridays@7 concerts are performed without intermission, last approximately 75 minutes, and are followed by food, drinks, mingling with musicians, and live performances of world music by Jamey Haddad & Friends, with a special appearance by Alisa Weilerstein.

Jonathan Nott makes his Cleveland Orchestra debut in program featuring Strauss's Also sprach Zarathustra at Severance Hall on November 19 and 21

Cleveland Orchestra Artist-in-Residence Alisa Weilerstein

is soloist in the Dvoë˘ł░k Cello Concerto

Concerts include world premiere of Julian Andersonĺ─˘s Fantasias

CLEVELAND, October 23, 2009 ĺ─ý Jonathan Nott, chief conductor of Germanyĺ─˘s Bamberg Symphony Orchestra, will make his debut with The Cleveland Orchestra conducting a program featuring Straussĺ─˘s Also Sprach Zarathustra (Thus Spake Zarathustra) at Severance Hall on Thursday, November 19, and Saturday, November 21, at 8:00 p.m. (He will also conduct the Orchestraĺ─˘s Fridays@7 concert on November 20 at 7:00 p.m.)

The program for November 19 and 21 begins with the world premiere of Julian Andersonĺ─˘s Fantasias. Mr. Anderson was The Cleveland Orchestraĺ─˘s Daniel R. Lewis Young Composer Fellow for the 2005-06 and 2006-07 seasons. The program continues with Antonłén Dvoë˘ł░kĺ─˘s Cello Concerto in B minor, Opus 104, with Cleveland Orchestra Artist-in-Residence Alisa Weilerstein as soloist. After intermission, the program concludes with Richard Straussĺ─˘s Also sprach Zarathustra (Thus Spake Zarathustra), Opus 30.

British conductor Jonathan Nott has established himself as a conductor of opera at the Frankfurt Opera and Wiesbaden Opera, as well as a conductor of orchestral repertoire, through his work as principal conductor of the Lucerne Symphony Orchestra (1997-2002), chief conductor of the Bamberg Symphony Orchestra since 2000, and guest conductor internationally.

Mr. Nott has an ongoing relationship with the Ensemble Modern and the Ensemble Intercontemporain. He has said, ĺ─˙For some people, contemporary work is put in as a sort of apology. But if Iĺ─˘ve programmed a John Adams piece before Beethovenĺ─˘s Seventh, itĺ─˘s because people will listen to the Beethoven differently afterwards.ĺ─¨

About Julian Andersonĺ─˘s Fantasias:

In a program note about Fantasias, Julian Anderson writes, ĺ─˙The tradition of the fantasia in Western music is that of caprice and deliberate willfulness on the surface of the music, as in the wonderful keyboard Fantasias of C.P.E. Bach, with an underlying harmonic coherence holding the whole together. In this work, I have adopted both features.ĺ─¨

Fantasias, written between 2007 and 2009, consists of five movements, each focusing on a different group of instruments ĺ─ý for example, brass only for the first movement, and full orchestra featuring string and wind textures in the third movement.

Mr. Anderson calls the fourth movement a ĺ─˙fast, almost comic scherzoĺ─¨ in which different groups of instruments are intercut like a Tom and Jerry cartoon.

The finale he describes as ĺ─˙a single headlong rush ĺ─ý with just two moments of repose and slackness to allow the listener, the performers (and the composer!) to get their bearings before, roller-coaster like, the music hurtles on its way.ĺ─¨

FREE CONCERT PREVIEWS:

Concert Previews will be given prior to the November 19 and 21 concerts, beginning at 7:00 p.m., in Reinberger Chamber Hall. The Preview, titled ĺ─˙Meet the Composer,ĺ─¨ will feature Julian Anderson in conversation with Gary Ginstling, Cleveland Orchestra general manager. Concert Previews are designed to enrich the concert-going experience by providing historical background and critical insight into the music performed at each concert. This series is funded by a generous endowment gift from Dorothy Humel Hovorka.

CALENDAR LISTINGS:

Thursday, November 19, at 8:00 p.m.Saturday, November 21, at 8:00 p.m.

Cleveland Orchestra clarinetist Daniel McKelway will be featured in programPNC is new sponsor of the Musical Rainbow Series

CLEVELAND, October 23, 2009 ĺ─ý Cleveland Orchestra clarinetist Daniel McKelway will introduce children ages 3-6 to ĺ─˙The Clever Clarinetĺ─¨ in the November 20 and 21 PNC Musical Rainbow concerts, held in Severance Hallĺ─˘s Reinberger Chamber Hall. Local actress and singer Maryann Nagel hosts the 30-minute, age-appropriate programs, which include narration, demonstration, short solo selections, and audience participation. Biographical information on Mr. McKelway follows at the end of this release.

The Cleveland Orchestraĺ─˘s Musical Rainbow concerts have a new sponsor this season. As part of PNCĺ─˘s Grow Up Great initiative in Cleveland, they are sponsoring the Musical Rainbows Series for preschoolers as well as a wide range of other activities and programs designed to give very young children ĺ─˙A Great Early Start in the Arts.ĺ─¨ PNC Musical Rainbow programs introduce very young children to the instruments of the orchestra, one at a time.

Friday, November 20, 2009 at 10:00 a.m.Saturday, November 21, 2009 at 10:00 a.m. and 11:00 a.m.

Reinberger Chamber Hall at Severance Hall

PNC Musical Rainbow: ĺ─˙The Clever Clarinetĺ─¨ (ages 3-6)

DANIEL McKELWAY, clarinetMARYANN NAGEL, hostLAURA SILVERMAN, piano

The PNC Musical Rainbow Series is endowed by the Pysht Fund.

TICKETS: $7 for adults and children; general admissionTo order tickets by phone, call (216) 231-1111. Tickets are also available online at clevelandorchestra.com.

Second Abu Dhabi Classics Season Began Oct. 23

New York Philharmonic, Philharmonia of London, Vienna Philharmonic, Orchestre Philharmonique de Radio France, Słžchsische Staatskapelle Dresden and Mahler Chamber Orchestra to perform in Abu Dhabi and Al Ain

Opera programming includes a Wagner Opera Gala performed by the Bavarian State Orchestra and acts from Verdiĺ─˘s La Traviata and Rigoletto performed by the Orchestra e Coro del Teatro La Fenice

Second Abu Dhabi Classics season expands education programs and childrenĺ─˘s concertsĺ─«The second Abu Dhabi Classics season will open on Friday, October 23 with a sold-out concert by the New York Philharmonic and Music Director Alan Gilbert at the Emirates Palace Auditorium in Abu Dhabi. The second season will present classical music concerts in the United Arab Emirates cities of Abu Dhabi and Al Ain with a focus on presenting core repertoire and expanded education activities. The season runs through May 2010.

Abu Dhabi Classics is the first year-round and most significant performing arts series in the Arab world. Last year, the inaugural series of concerts attracted 35,000 people. Under the patronage of H. E. Sheikh Sultan bin Tahnoun Al Nahyan, the series is presented by the Abu Dhabi Authority for Culture and Heritage and forms a central part of the Authorityĺ─˘s cultural vision for the Emirate of Abu Dhabi. Every season, between October and May, indoor and outdoor venues host concerts by top international classical music stars and ensembles. In partnership with some of the most distinguished music institutions in the world, Abu Dhabi Classics is also initiating various education programs that take place under the umbrella of the Abu Dhabi Classics Academy and include affiliations with local schools, universities and other institutions.

The New York Philharmonic and Music Director Alan Gilbert will make their United Arab Emirates debut performing Beethovenĺ─˘s Piano Concerto No. 4 with soloist Emanuel Ax and Mahlerĺ─˘s Symphony No. 1 on Friday, October 23 and then perform Brahmsĺ─˘ Violin Concerto with Frank Peter Zimmermann and Beethovenĺ─˘s Symphony No. 7 in Al Ain on Saturday, October 24. In addition to the New York Philharmonic, the Philharmonia Orchestra from London and the Vienna Philharmonic will make return visits and all three orchestras will present childrenĺ─˘s concerts. Concerts will also be presented by the Orchestre Philharmonique de Radio France and Słžchsische Staatskapelle Dresden.

Visiting artists during the 2009-10 season include violinists Anne-Sophie Mutter and Frank Peter Zimmermann, pianists Emanuel Ax, Christoph Eschenbach and Kit Armstrong, percussionist Evelyn Glennie, and conductors Lorin Maazel, Seiji Ozawa, Myung-Whun Chung, Jukka-Pekka Saraste and John Fiore. Program highlights include the continuation of the cycle of Mahler symphonies, the start of a Beethoven symphonic cycle, family events, childrenĺ─˘s concerts as well as a Valentineĺ─˘s Day gala concert. (Full program details and schedule follow.)

The partnership between Abu Dhabi Classics and the existing Al Ain Classics series, under the patronage of H. H. Sheikh Abdullah Bin Zayed Al Nahyan, Minister of Foreign Affairs, continues to expand significantly. In addition to the Al Ain Classics Festival in March 2010, Al Ain will host the New York Philharmonic, Orchestra e Coro del Teatro La Fenice, the Mahler Chamber Orchestra under conductor Daniel Harding and the Mozarteum Orchestra Salzburg during the upcoming season.

H. E. Sheikh Sultan Bin Tahnoun Al Nahyan, chairman of the Abu Dhabi Authority for Culture and Heritage, said: ĺ─˙The association between Abu Dhabi Classics and Al Ain Classics is of significant strategic importance. Underlining the unique role of the scenic oasis city of Al Ain, this artistic association will assist in creating international visibility for Al Ain, the heritage pearl of the UAE.ĺ─¨

ĺ─˙We are thrilled to once again present a concert season of internationally renowned ensembles and musicians in the United Arab Emirates,ĺ─¨ said Mohammed Khalaf Al Mazrouei, Director General of the Abu Dhabi Authority for Culture and Heritage (ADACH). ĺ─˙The first Abu Dhabi Classics season was enthusiastically embraced by audiences and showed that we have a big audience for quality classical music performances.ĺ─¨

ADACH Director of Arts and Culture, Abdullah Al Ameri, pointed out that ĺ─˙Abu Dhabi Classics represents the determination and persistence of the UAE capital to make art, music and culture part of everyday life, and to become a leading center in the cultural world.ĺ─¨

Executive Director Till Janczukowicz said: ĺ─˙Classical music or a classical composer is not the property of a single nation. Germany does not own Beethoven, France does not own Ravel. All nations have clear responsibilities of safeguarding the traditions of their composers, but in the end, all these geniuses have contributed to a universal language that is understood internationally. This series is a great cultural opportunity in a globalized world.ĺ─¨

Referring to the mission of Abu Dhabi and Al Ain Classics, Mr. Janczukowicz emphasized the importance of the core repertoire: ĺ─˙In order to set substantial ground for a sustainable musical life, it is essential to present the core classical and romantic repertoire performed by the best possible musicians. It is a vital role of Abu Dhabi Classics to expose and promote an honest and deeply human language that goes ĺ─ý as Beethoven said ĺ─ý directly from heart to heart.ĺ─¨

Music lectures, round-table discussions and pre-concert talks will enhance the concerts and give audiences the opportunity to find out more about the music being performed.

For more information about Abu Dhabi Classics, a full schedule, travel information and tickets, visit www.abudhabiclassics.com

David Robertson conducts The Cleveland Orchestra in program featuring Brahms's Piano Concerto No. 2 with Yefim Bronfman as soloist at Severance Hall o

Program for Thursday and Saturday includes Cleveland Orchestra premiere of John Adamsĺ─˘sDoctor Atomic Symphony

CLEVELAND, October 23, 2009 ĺ─ý David Robertson, music director of the Saint Louis Symphony Orchestra, returns to Severance Hall to conduct The Cleveland Orchestra in a program featuring Brahmsĺ─˘s Piano Concerto No. 2 with Yefim Bronfman as soloist at Severance Hall on Thursday, November 12, at 8:00 p.m.; Friday, November 13, at 11:00 a.m.; and Saturday, November 14, at 8:00 p.m. When Mr. Bronfman performed the concerto in October with Londonĺ─˘s Philharmonia Orchestra under the direction of Christoph von Dohnł░nyi, the Guardian noted that ĺ─˙Bronfman not only had the force to vie with the orchestra at full tilt, but also a crystalline delicacy and grace.ĺ─¨

The program for Thursday and Saturday evenings begins with Johannes Brahmsĺ─˘s Tragic Overture, followed by the first Cleveland Orchestra performances of John Adamsĺ─˘s Doctor Atomic Symphony. After intermission, the program concludes with Brahmsĺ─˘s Piano Concerto No. 2 in B-flat major, Opus 83. The Friday morning concert, performed without intermission, consists of the two works by Brahms.

About John Adamsĺ─˘s Doctor Atomic Symphony:

The Doctor Atomic Symphony is a purely instrumental work drawn from John Adamsĺ─˘s 2005 opera, Doctor Atomic. The action of the opera takes place in June and July 1945, as the Manhattan Project to develop the atomic bomb comes to fruition in the New Mexico desert near Los Alamos. The second act leads up to the first successful firing of the bomb at the ĺ─˙Trinityĺ─¨ test site. Peter Sellars created the libretto from original sources, including diaries and writings of the scientists as well as some poetry that was meaningful to J. Robert Oppenheimer, scientific director of the Manhattan Project.

The Doctor Atomic Symphony consists of three movements, titled ĺ─˙The Laboratory,ĺ─¨ ĺ─˙Panic,ĺ─¨ and ĺ─˙Trinity.ĺ─¨ The symphony includes music from the operaĺ─˘s overture, its Act II ĺ─˙panicĺ─¨ music, and the ĺ─˙military mattersĺ─¨ sections from Act I. It culminates with an orchestral setting of Oppenheimerĺ─˘s signature ĺ─˙Batter My Heartĺ─¨ aria, which in the opera used text from poet John Donneĺ─˘s Holy Sonnet XIV.

The BBC Symphony Orchestra gave the first performance of the Doctor Atomic Symphony on August 21, 2007, under the direction of John Adams. The score is dedicated to David Robertson, who conducted the North American premiere in Saint Louis on February 7, 2008, with the Saint Louis Symphony Orchestra. Their recording of Doctor Atomic Symphony is available on the Nonesuch label.

* * * These concerts are sponsored by The Lubrizol Foundation. Yefim Bronfmanĺ─˘s appearance with The Cleveland Orchestra is made possible by a gift to the Orchestraĺ─˘s Guest Artist Fund from Mr. and Mrs. Michael Sherwin. The Cleveland Orchestraĺ─˘s Friday Morning Concert Series is endowed by the Mary E. and F. Joseph Callahan Foundation. Pre-concert lectures for the Friday Morning Concert Series are funded by a generous endowment gift from Dorothy Humel Hovorka.* * * The Cleveland Orchestraĺ─˘s 2009-10 season at Severance Hall is sponsored by UBS. Headquartered in Zurich and Basel, Switzerland, UBS is a global firm providing services to private, corporate and institutional clients. Its strategy is to focus on international wealth management and the Swiss banking business alongside its global expertise in investment banking and asset management. In Switzerland, UBS is the market leader in retail and commercial banking.

UBS is a significant supporter of orchestral music globally. In addition to its season sponsorship of The Cleveland Orchestra, the firm currently sponsors several other outstanding symphony orchestras, such as the Boston Symphony Orchestra and The Philadelphia Orchestra. These partnerships reflect UBSĺ─˘s dedication to supporting the communities where it operates, as well as a philosophy of working collaboratively with its clients to deliver the customized solutions that help them pursue their goals.

ĺ─˙UBS is proud of our ongoing relationship as Season Sponsor of The Cleveland Orchestra,ĺ─¨ said Marten Hoekstra, CEO, UBS Wealth Management Americas. ĺ─˙Supporting the arts is ingrained in our corporate culture and we view our partnership with this internationally renowned orchestra as a reflection of our ongoing commitment to communities where we live and work.ĺ─¨

TICKET SERVICES:The Severance Hall Ticket Office is located in the Smith Lobby. The entrance and 15-minute Ticket Service parking are along East Boulevard. Single tickets for all concerts in the 2009-10 season are now on sale.Severance Hall Ticket Office Hours:M-F 9-6Sat. 10-6Closed Sundays and major holidays, except for those days with performances, when the Ticket Office opens three hours prior to the performance start time.To charge tickets by telephone on American Express, Discover Card, MasterCard, and Visa, call Cleveland Orchestra Ticket Services at (216) 231-1111 (Cleveland) or 800-686-1141 during the regular ticket office hours listed above. Subscriptions and single tickets are also available through The Cleveland Orchestraĺ─˘s website at clevelandorchestra.com. The website offers secure ticket transactions with any major credit card and provides complete concert listings.

FREE CONCERT PREVIEWS:Concert Previews will be given prior to the November 12, 13, and 14 concerts, beginning one hour before concert time. On Thursday and Saturday evenings, James Feddeck, Cleveland Orchestra assistant conductor and Cleveland Orchestra Youth Orchestra music director, will give the Preview, titled ĺ─˙Atomic Adams, Bravura Brahms,ĺ─¨ in Reinberger Chamber Hall. On Friday morning, Rose Breckenridge, Cleveland Orchestra Music Study Groups administrator and lecturer, will give the Preview, titled ĺ─˙Brahms the Symphonist.ĺ─¨ in the Concert Hall. Concert Previews are designed to enrich the concert-going experience by providing historical background and critical insight into the music performed at each concert. This series is funded by a generous endowment gift from Dorothy Humel Hovorka.

PARKING:For evening subscription concerts at Severance Hall, parking can be purchased for $10 per vehicle, when space permits, in the Campus Center Garage (the underground garage located directly behind Severance Hall). Pre-paid parking for the Campus Center Garage can be purchased in advance through the Ticket Office at the cost of $14 per concert (this includes City of Cleveland parking tax and handling fee). The pre-paid parking ensures patrons a parking space, but availability of these pre-paid parking passes is limited. For further information, or to order pre-paid parking, patrons should call the Cleveland Orchestra Ticket Office during regular office hours at (216) 231-1111 or 800-686-1141. Pre-paid parking passes are also available through The Cleveland Orchestraĺ─˘s website at clevelandorchestra.com. For Friday morning matinee performances, due to limited parking availability in the Campus Center Garage (the underground garage located directly behind Severance Hall) and in the University Circle area in general, patrons are encouraged to take advantage of off-site parking and round-trip shuttle service available at the Cleveland Play House (8500 Euclid Avenue) and the Cedar Hill Baptist Church (12601 Cedar Road). The fee is $10 per car.

CALENDAR LISTINGS:

Thursday, November 12, at 8:00 p.m.Saturday, November 14, at 8:00 p.m.

PSO POPS! Presents A Tribute to Louis Armstrong, November 14 and 15

PORTLAND, Maine ĺ─ý The Portland Symphony Orchestra (PSO) welcomes guest conductor Matthew Fritz and special guest artist Byron Stripling for a POPS! tribute to the legendary jazz trumpeter and singer Louis Armstrong. The performances take place November 14 and 15 at Merrill Auditorium.

World-renowned trumpet virtuoso and a graduate of the Eastman School of Music (also PSO Music Director Robert Moody's alma mater), Byron Stripling pays homage to the great "Satchmo." Performing pieces made famous by Armstrong such as "Do You Know What It Means to be Miss New Orleans?", "Honeysuckle Rose", "Ain't Misbehavin'" and "Sweet Georgia Brown" in addition to special tribute arrangements, Stripling sings with the same gravelly voice as Armstrong, dresses the way he would have back in the 1930s, and plays the trumpet in the artist's style. Stripling is the artistic director and conductor of the Columbus (Ohio) Jazz Orchestra, has soloed with the Boston Pops and played the lead role in the Broadway production of Satchmo.

Guest conductor Matthew Fritz was Maestro Moody's first student of conducting while an undergraduate and went on to receive his Master's degree in orchestral conducting from the Eastman School of Music. While just commencing his conducting experiences, Fritz has already had the opportunity to conduct the Southern Arizona Symphony, Quincy and Cape Ann Symphonies in Massachusetts, the Phoenix Symphony Guild Youth Orchestra, and the PSO's 2008 Summer Serenade concerts.

In conjunction with the Tribute performances, community members are invited to attend a lecture titled "Three Keys to Musical Success" with Byron Stripling on Friday, November 13 at 1:00 PM at Corthell Hall (on the USM Gorham campus).

Sponsored by Holiday Inn by the Bay and New England Coffee, A Tribute to Louis Armstrong will take place at Merrill Auditorium, 20 Myrtle Street in Portland, Saturday at 7:30 PM and Sunday at 2:30 PM. The shows are recommended for the entire family (ages 8 and up).

The PSO's 2009-10 season is sponsored by IDEXX Laboratories. Tickets range from $20-$64 and are available through PortTix at (207) 842-0800 or www.porttix.com. Phone and internet orders are subject to $6-per-ticket handling fees. Tickets may also be purchased in person at the box office at 20 Myrtle St., Monday through Saturday, noon to 6 PM. Special pricing may be available for students, seniors, and groups of 10 or more.

For complete season information, including artist biographies; program notes; and Online Insights, provided with support from season Enrichment Sponsor Fairpoint Communications; visit www.portlandsymphony.com.

Toronto, October 22, 2009 ĺ─ý Let the joy resound! Torontoĺ─˘s belovedSt. Michaelĺ─˘s Choir School celebrates the glorious sounds and spirit of Christmas with its annual Massey Hall concert. One of this cityĺ─˘s most endearing holiday traditions, this yearĺ─˘s Christmas performance, Sing We Noł┤l, Noł┤l We Sing, offers a jubilant program rich with some of the most wonderful melodies ever written for the Christmas season. The remarkable boys of St. Michaelĺ─˘s Choir School will take to the Massey Hall stage on Friday, December 11, 2009 at 8 pm and Saturday, December 12, 2009, at 3 pm to sing songs of praise to usher in the holiday season, and to mark this, St. Michaelĺ─˘s Choir Schoolĺ─˘s 70th Annual Christmas concert.

Sing We Noł┤l, Noł┤l We Sing, a splendid musical program created especially for this anniversary event includes music on more traditional holiday subjects with excerpts from Ruttersĺ─˘ choral song-cycle, Dancing Day, Lux aurumque from composer Eric Whitacre and sacred works such as Eĺ─˘en so, Lord Jesus, quickly come; and Youngĺ─˘s lovely arrangement of Widorĺ─˘s Toccata ĺ─ý Gloria. Several popular Christmas carols are also in store -- Silent night; O come all ye faithful and Hark the herald angels sing offer audiences an opportunity to sing along with traditional favourites.

This yearĺ─˘s concert also features the talents of gifted organist William Oĺ─˘Meara and the artistry of harpist Sanya Eng. To further highlight the Choir Schoolĺ─˘s choral tradition, the choirs will also perform two works specifically connected with St. Michaelĺ─˘s Choir School. In addition to a special arrangement of O Canada by the Choir Schoolĺ─˘s former Music Director Monsignor Thomas Barrett Armstrong, the Senior Choir will present Hodie, Christus natus est an original work by alumnus Dr. Kola Owolabi.

In December 1939, the Cathedral Schola Cantorum later to become known as St. Michaelĺ─˘s Choir School, took to the stage to present their first-ever Christmas concert. Their annual Massey Hall residencey began 44 years ago. In addition to the annual Christmas concert, the choirs perform publicly in an annual tour and at many local events. Dignitaries such as His Holiness Pope John Paul II, Her Majesty Queen Elizabeth II, and former Canadian Prime Minister Jean Chrłętien have enjoyed the choirĺ─˘s performances.

Founded in 1937 with the purpose of providing sacred music for services at St. Michaelĺ─˘s Cathedral in downtown Toronto, St. Michaelĺ─˘s Choir School is a centre for musical and academic excellence. Each student admitted to the Choir School is trained in vocal, technical, and instrumental music, and sings in one of the schoolĺ─˘s choirs. For more information: www.smcs.on.ca

La SCENA Winter / La Scena Musicale December 2009 Issue to appear

The Winter 2010 issue of La SCENA/La Scena Musicale will be distributed on November 27 and the deadline for advertising is November 23, 2009.

La SCENA, our multidisciplinary arts magazine, comes packed with the latest in-depth coverage on theatre, visual arts, dance, and film, plus music in the form of the December-January issue of La Scena Musicale.On the cover of La SCENA, we profile Montreal sculptor David Altmejd, winner of the 2009 Sobey Award. The issue will focus on higher arts education and will include conversations with Gabor Szilasi, Paul Buissoneau and Sandra Oh. Furthermore, La SCENA offers the arts patron previews of the most exciting performances as well as free listings of all upcoming performances and expositions.

In recognition of their 20th year and recent Juno award, the Ensemble Caprice will grace the cover of La Scena Musicale. There will be articles on jazz and world music and our usual pull-out concerts calendar and previews, Features include the return of Handelĺ─˘s Messiah to the Quebec concert scene. And as a special treat for our paying newsstand readers and subscribers: the Discovery CD of the month will feature Franł▀ois Zeitouni's recording of Louis-Claude D'Aquin's (1694-1772) completeNoels for Organ, sure to get everyone in the holiday spirit.
Reach over 50,000 readers with 25,000 copies distributed in Montreal and the province of Quebec with La SCENA/La Scena Musicale. These magazines contain award-winning editorial features, an extensive calendar of events (province of Quebec including radio and TV listings) and product reviews; readers consult each issue 4.5 times a month on average, generating 225,000 viewings per month; as this is a three month issue, there will be 900,000 viewings.

____________________________________________________________ERRATA
A production error in our November issue left off the author credit for the lively cover portrait on Louise-Philippe Marsolais, which was written by Montreal Gazette music critic Arthur Kaptainis. We are proud that Mr. Kaptainis has begun to contribute to La Scena Musicale (see his monthly CD reviews) and we apologize for this omission.
____________________________________________________________

La Scena Musicale/The Music Scene is a registered charity promoting music and the arts through three magazines and a website. We connect musicians/artists, the arts community and music/art lovers together through education and information. Help us continue our work with a donation (cash or goods) or by volunteering.

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Tracks are available in high quality DRM-free MP3 for listening or downloading and some in MIDI format for synthesizers. The site provides detailed musicological information for each work: its proper movements and subdivisions, genre, principal instruments, year of composition, and key. Users can then easily compare various recordings of a given work, each identified in a proper and consistent manner ĺ─ý something not possible with any other site.

Classical Archives memberships are just $9.95/month or $99.50/year. Benefits include the ability to listen to music from the whole site (entire tracks or works); a 10% discount on all downloads (which are yours to keep for life!); the first two weeks as a free trial of the service; the ability to access and download MIDI files free of charge.

Classical Archives (www.classicalarchives.com), the ultimate classical music destination, is the largest digital music subscription service dedicated to classical music. The site offers more than 620,000 tracks, 7,800 composers, and 27,000 artists representing more than 110 record labels. It also features a breakthrough in site navigation that allows users to search and cross-reference by any relevant criteria: composer, work title, artist, albums, historical period, instrument, genre, and many others that make finding and comparing the best classical recordings easier than it has ever been. Classical Archives offers unique membership opportunities that allow users to take advantage of its vast resources easily and affordably. Fees are $9.95/month or $99.50/year. Benefits include the ability to listen to music from the entire site (complete tracks or works); a 10% discount on all downloads (which are yours to keep for life!); and the first two weeks as a free trial of the service.

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Saturday, November 7, 2009

Honens announces 2009 Winners

CALGARY, AB, November 6, 2009 ĺ─ý William Aide, Chairman of the Honens Jury, announced tonight the Laureates and prizewinners of the Sixth Honens International Piano Competition in Calgary. First Laureate is Georgy Tchaidze, 21, (Russia), Second Laureate is Evgeny Starodubtsev, 27, (Russia), and Third Laureate is Gilles Vonsattel, 28, (Switzerland).

ĺ─˙The outstanding concerto performances by the Honens finalists have made the juryĺ─˘s decision all the more difficult,ĺ─¨ says Aide. ĺ─˙Our three Laureates demonstrate the artistic conviction Honens seeks in its search for the ĺ─˛Complete Artistĺ─˘.ĺ─¨

In addition to more than $100,000 CAN in cash prizes, Honens awards its three Competition Laureates one of the competition worldĺ─˘s most lucrative career development prizes valued at more than $500,000. This three-year program, which prepares the laureates for the rigours and realities of a professional music career, includes international engagements, presentation of debuts in essential career-building markets, production of recordings, residencies at The Banff Centre, media training, networking opportunities with presenters and artist managers, and mentoring and coaching. The program is customized to each laureateĺ─˘s needs, regardless of Competition ranking.

During the Awards Ceremony, Nexen Inc. announced it would again be the Presenting Sponsor of the Seventh Honens International Piano Competition, October 18 to November 3, 2012.

Honens International Piano Competition is among the worldĺ─˘s most prestigious events of its kind. It searches the world to discover ĺ─˙Complete Artistsĺ─¨ ĺ─ý 21st century musicians for 21stcentury audiences. The Sixth International Piano Competition, was presented by Nexen Inc., and supported by Steinway & Sons, Irene Besse Keyboards Ltd, Macleod Dixon LLP, TransAlta and Enbridge Inc. For more information visit honens.com.

Thursday, November 5, 2009

Los Angeles Music Academy College of Music Launches Condensed Music Program LAMA Jams Private Lessons and Band Workshops For Students of All Ages and

Pasadena, CA ĺ─ý October 21, 2009 ĺ─ý LA Music Academy College of Music (http://www.lamusicacademy.edu) today announced its creation of LAMA Jams (http://www.lamajams.com), a music program serving guitar, bass, drum, vocals, keyboard, brass and woodwinds students. Ongoing weekly private lessons coincide with band workshops where students create and perform original music or cover songs. LA Music Academy, founded in 1996 by professional musicians and recording studio greats, is known worldwide for offering the best and most relevant education in a small boutique environment.

"LAMA Jams focuses on private lessons and band workshops. Whether you want to learn rock, pop, hip-hop, funk, R&B, jazz, neo-soul or classical, this is the right program for you," says Tom Aylesbury, President of LA Music Academy. "Students can opt for lessons, workshops or both. The workshop sessions run for seven weeks followed by a final concert during the eighth. Private lessons are ongoing and taught at the Academy or in your home (an additional charge applies)."All ages are welcome to join the program, however, Aylesbury says if musicians are nine-years-old or younger, they should contact the school to inquire about availability. "Following an assessment, a personalized private instruction program is developed to fit each student's individual needs and aspirations. Students may choose either 45 minute or one hour private lessons, in either a one-on-one format or small group setting." Aylesbury says LA Music Academy's highly qualified instructors are all professional musicians; most are graduates of the nationally accredited LA Music Academy, which in 2009 began offering Associate of Arts Degrees in Music Performance.

Workshop students are placed in bands according to ability. Bands will play cover songs or write original songs in any style. Weekly rehearsals are 45 minutes each, held over the course of seven weeks. At the end of each session, bands will record their songs and perform a concert. Students who are enrolled in the private lessons receive discounted pricing for the band workshops.In addition to required books, students enrolling in private lessons need to bring the following:ĺ─ó Drummers: Sticks and Practice Pad ĺ─«ĺ─ó Guitarists / Bassists: Instrument, Cable & Tunerĺ─«ĺ─ó Vocalists: A Recording Device if desiredĺ─«ĺ─ó Brass and Woodwind players: InstrumentLA Music Academy will supply drum sets, cymbals, pedals, amps and keyboards.Private lessons are ongoing year round and monthly payment is due one month in advance. Lessons with student and teacher only are $60 for one hour or $45 for 45 minutes. Lessons at students' homes are $7o for one hour or $55 for 45 minutes, within a 10 mile radius of Pasadena. Group lessons (three-five students) are $30 per student for one hour. Payment for band workshops is due prior to the start of the session. Each session is $400, but only $325 if the student is already enrolled in private lessons.

For more information about LA Music Academy, visit http://www.lamajams.com. Contact Iris Alba in admissions at 626-568-8850 or email iris@lamusicacademy.edu. LA Music Academy is located at 370 S. Fair Oaks Ave., Pasadena, CA 91105.

LA Music Academy in Pasadena, a suburb of Los Angeles, CA, offers an intimate and friendly, yet serious and rigorous contemporary music education to male and female students 18 and over through its vocal, drum, bass and guitar programs. Founded in 1996, the Academy is accredited by the National Association of Schools of Music and has provided a solid musical foundation for more than 1,000 international and domestic students. LA Music Academy's 35 instructors immerse students in practical courses. The Academy offers a significant number of real world playing situations with professional musicians, not just peers, setting the school apart from other prestigious music institutions. LA Music Academy gives its students the skills necessary to apply their learning in a wide variety of professional situations in the music industry.ĺ─«

Victoria Symphony awarded asteroid for contributions during IYA2009

Victoria, BC ĺ─ý On November 1 and 2, at the Royal Theatre, the Victoria Symphony will be presented a certificate of the discovery and naming of an asteroid during The Planets concerts. This asteroid, VicSympho, was named in recognition for the Victoria Symphonyĺ─˘s strong contributions towards music and science education during the International Year of Astronomy.

According to Jim Hesser, Director of the National Research Councilĺ─˘s Dominion Astrophysical Observatory, Victoria, and Chair of the IYA Canada Committee, ĺ─˙This international honour reflects the gratitude of the astronomical community for the Orchestraĺ─˘s early and inspirational commitment to marrying the arts and sciences to help children appreciate the majesty of music and of the skies during the International Year of Astronomy (IYA2009).ĺ─¨

On November 1 and 2, Jim Hesser and discoverer David Balam will present the Victoria Symphony with an official VicSympho certificate at The Planets concert. This day also marks when VicSympho will be 532 million km from the Earth and 543 million km from the sun. (More information about the asteroid attached.)

At the concert, the Victoria Symphony presents the sights and sounds of Holstĺ─˘s The Planets, as Dr. Josłę Francisco Salgadoĺ─˘s critically-acclaimed video suite is projected on a screen while the orchestra performs. These suites were featured in the opening ceremony of the IYA2009 at the UNESCO Headquarters in Paris and are being shown around the world as part of IYA2009 festivities. Written for a huge orchestra, The Planets is a work of great subtlety and elegance, even in its most ferocious moments. ĺ─˙Jupiter, the Bringer of Jollityĺ─¨ is the most popular of all the movements. Preview ĺ─˙Jupiterĺ─¨ http://www.youtube.com/watch?v=CZTULRl9hrQ The Planets video suite was produced and directed by Dr. Salgado and the executive producers were Adler Planetarium in Chicago and Vectors & Pixels Unlimited.

Gustav Holstĺ─˘s The Planets is just one of the may ways the Victoria Symphony has continuously supported and contributed to music and science education throughout IYA2009. From performing Holstĺ─˘s dramatic masterpiece, to hosting the COU's telescopes at the Bayview Residences Victoria Symphony Splash, to creating an educational concert, Music of the Spheres, the Victoria Symphony made strong efforts to bridge music and science for children and families for Canadian communities.

Music Director Tania Miller wrote and conducted an educational concert celebrating IYA2009 and the 400th Anniversary of Galileoĺ─˘s telescope. Music of the Spheres was performed for thousands of Vancouver Island students in February and April, for more than 20,000 of Toronto children in May, and once again for Victoria children and families at the Concert for Kids this Saturday, October 25. Teacherĺ─˘s guides combining music and astronomy were produced to engage the students and provide an accessible and fun experience. At these concerts, the IYA2009 collectable AstroCards were given out to all ages and provided opportunities for the community to send their names into space.

The Victoria Symphony is Vancouver Islandĺ─˘s largest and most active arts organization performing for more than 125,000 people each year, including 10,000 schoolchildren. Showcasing the outstanding talents of its musicians and guest artists, the Victoria Symphonyĺ─˘s 2009-2010 season offers a diverse and exciting line-up of over 50 concerts led by its vibrant Music Director Tania Miller.

The Planets Music of the SpheresNovember 1 at 2:30pm, Royal Theatre October 25 at 2:30pm, Royal TheatreNovember 2 at 8pm, Royal Theatre 250.385.6515 or 250.386.6121250.385.6515 or 250.386.6121 $12.50+ for Kids, $14.50+ for Adults$12, $29.50, $39.50, $48.50 www.victoriasymphony.cawww.victoriasymphony.ca

Into the Wind by Guzheng performer/composer Bei Bei He and Ubiquity producer Shawn Lee marries a unique blend of ancient tradition with studio trickery. This uplifting, genre-bending sound clash, recalls the afro centric harping of Dorothy Ashby and hypnotic spiritual jazz of Alice Coltrane. With Lee adding equal doses of hip hop, electric jazz, and soul sensibility to the backing tracks, the captivating sound of Bei Beiĺ─˘s Guzheng comes alive on peaceful mellow joints as much as it does on Kung-Fu flavored funk tunes. ĺ─«ĺ─«Falling in love with the 5 foot tall x 1 foot wide 21-stringed Chinese instrument at first sight, Bei Bei began playing at the age of seven. While studying the Guzheng at a music conservatory in Hong Kong in 2002, Bei Bei developed an interest in jazz and groove-based music and hoped to make those styles with her instrument one day. Eight years later, now residing in Southern California, Bei Bei was contacted by Shawn Lee about making a record in the way sheĺ─˘d previously dreamed of, and she jumped at the opportunity.ĺ─«ĺ─«These days itĺ─˘s not uncommon for artists to swap tracks and build tunes over the internet. But, in this case, the artists had to drop their guards, throw caution to the wind, and learn about each otherĺ─˘s very different crafts as they went. Meeting only once, in person, the two emailed and swapped files for about a year to complete the record.ĺ─«ĺ─«ĺ─˙Shawn was inspired by some of the traditional music that I play,ĺ─¨ she explains. ĺ─˙It took both of us being committed, fully self-expressed, inspired, connected to make this album happen.ĺ─˙ĺ─«ĺ─«The initial burst of inspiration led to the birth of early pieces like ĺ─˙Make Me Strongerĺ─¨ and ĺ─˙Beiĺ─˘s Bossa,ĺ─¨ which were new creations based on ancient tunes. The label was so excited by these two that they shared them with label mates and this is how Georgia Anne Muldrow ended up singing on the entrancing ĺ─˙Make Me Stronger,ĺ─¨ and later on ĺ─˙Willingness.ĺ─¨ĺ─«ĺ─«Ubiquity released a limited edition 10ĺ─¨ EP, featuring tracks from the album, to positive acclaim from Berlin to Los Angeles, with KCRWs Garth Trinidad calling the tracks ĺ─˙A ray of light in my world,ĺ─¨ and BBC Radio 1 DJ Mary Anne Hobbes saying ĺ─˙Love love love this.ĺ─¨ At time of press Lee and Bei Bei were discussing plans for a few special live shows.ĺ─«ĺ─«The Guzheng is over 2000 years old and belongs to the Asian long zither family. It was used in both folk and court music in the ancient China. Bei Bei started received her professional musical training at the Central University of Nationalities in Beijing, China and the Hong Kong Academy for Performing Arts in Hong Kong. She is a multi-award winner of many national and international awards. As a studio musician, she recorded for Sci-fi Channelĺ─˘s ĺ─˙Battlestar Galacticaĺ─¨. As a composer, she composed music and performed for the China Central TV documentary series ĺ─˙Dun Huangĺ─¨. She released her debut album Quiet Your Mind And Listen in 2006 and her collaborative album Heart of China, with Richard Horowtiz, in 2008. She is the director of Lotus Bud Gu Zheng Studio in Orange County, CA, where she teaches students to play and perform.ĺ─«ĺ─«

World Stage to Host the World Premiere of Necessary Angel's Hamlet

The Bard's Tale of the Tragic Dane Gets an Agile and Savage Revision

TORONTO, ON (October 21, 2009) ĺ─ý Following the critical success of The Walworth Farce, Harbourfront Centre's World Stage is proud to host the world premiere of Necessary Angel's Hamlet. The second production of the World Stage 2009-10 performance series, Hamlet runs November 19 through November 29, 2009, at Harbourfront Centre's Enwave Theatre, 231 Queens Quay West, Toronto, ON. A full listing of evening and matinee performance times, as well as ticket prices, is included at the bottom of this release.

Necessary Angel's Hamlet combines the aesthetic of European theatre with the poetry of the British stage; what has emerged is a unique, immediate and violent 110-minute live theatre experiment seething with amorality, where nothing is set and every performance is different. The play received standing ovations during sold-out workshop performances in November 2008.

This vital, severe and sexy production features Benedict Campbell, Laura de Carteret, Mac Fyfe, Steven McCarthy, Christopher Morris, Tara Nicodemo, Robert Persichini and Eric Peterson, with Gord Rand in the title role. Hamlet is directed and designed by the acclaimed Graham McLaren, Artistic Director of Scotland's Theatre Babel and first-ever Associate Artist of Necessary Angel. Best known to Toronto audiences for his Dora Award-winning production of Medea (with Theatre Babel) that played World Stage in 2002, McLaren's highly lauded work has travelled extensively across the globe. Lighting design for Hamlet comes from the award-winning Andrea Lundy, with music and sound design from Alexander MacSween. Necessary Angel's Hamlet is slated for international touring in 2010-11.

With Hamlet, Harbourfront Centre and Toronto's own Necessary Angel Theatre Company continue a time-honoured relationship; Necessary Angel has staged Tamara, Hysterica Passio and a reading of Clout as part of World Stage in its various manifestations over the years. Founded in 1978, Necessary Angel has been an influential and original presence on the national and international theatre scene for 30 years.

New for World Stage 2009-10, visit harbourfrontcentre.com/worldstage to learn about Harbourfront Centre's commitment to developing artists and audiences through World Stage initiatives and programmes, such as special events, artist talks and more.

Tickets for Necessary Angel's Hamlet are $40 ($15 for previews). Complete information about previews, performance times, single tickets, packages and the Performance Card ($15 tickets for arts workers and students, Tues. ĺ─ý Thurs. performances only) is available through the Harbourfront Centre box office by phone at 416-973-4000, or harbourfrontcentre.com/worldstage.

Harbourfront Centre's World Stage 2009-10 gratefully acknowledges the support of Department of Canadian Heritage, Canada Council for the Arts, Ontario Arts Council, Toronto Arts Council and Westin Harbour Castle, the official hotel of World Stage. Preview and School Visits matinee performances generously supported by BMO Financial Group.

Artist-in-Residence Fellows to perform in public masterclass led by Alisa Weilerstein on November 18

CLEVELAND, October 21, 2009 ĺ─ý The Cleveland Orchestra today announced the selection of cellists Matthew Allen, Mikala Schmitz, and Avery Waite as the Orchestraĺ─˘s Artist-in-Residence Fellows for the 2009-10 season. They were selected through a competitive audition process to work in close collaboration with acclaimed cellist and Cleveland Orchestra Artist-in-Residence Alisa Weilerstein in a program made possible by the Malcolm E. Kenney Artist-in-Residence Fund. Matthew Allen is a freshman at the Cleveland Institute of Music studying with Melissa Kraut, and Mikala Schmitz and Avery Waite are seniors at the Oberlin College Conservatory of Music studying with Darrett Adkins.

The Artist-in-Residence Fellows will have private lessons with Alisa Weilerstein during the week of November 16, coinciding with her appearances as soloist with The Cleveland Orchestra. They will perform in a public masterclass led by Ms. Weilerstein in Severance Hallĺ─˘s Reinberger Chamber Hall on Wednesday, November 18, from 4:30-6:30 p.m. The Artist-in-Residence Fellows will also attend Cleveland Orchestra rehearsals during the week of Ms. Weilersteinĺ─˘s engagement. Admission to the masterclass is free, but tickets are required. Tickets may be reserved online at clevelandorchestra.com or through the Severance Hall Ticket Office during regular hours (M-F 9-6 and Sat. 10-6) in person or by calling (216) 231-1111 or 800-686-1141.* * *Cellist Matthew Allen, age 17, is a freshman at the Cleveland Institute of Music, where he studies with Melissa Kraut. A regular solo performer with various orchestras in the United States, Mr. Allen has been featured with the Tallahassee Symphony Orchestra, Northwest Florida Symphony Orchestra, Lagrange Symphony Orchestra, Lexington Bach Festival Orchestra, Kalamazoo Symphony Orchestra, and the Cincinnati Pops Orchestra, among others. In 2008, Mr. Allen recorded the Popper Hungarian Rhapsody for Telarc Records, released as From the Top at the Pops in August 2009. Mr. Allen has been a prizewinner in numerous competitions throughout the United States, including the Grand Prize in the 2008 LaGrange Symphony Orchestra Young Artists Competition, Gold Medal in the 2008 Stulberg International String Competition, and First Prize in the 2009 ASTA National Solo Competition. He was also awarded top prizes at the 2008 Blount-Slawson Young Artist Competition and the 2009 Johansen International String Competition. An avid chamber musician, Mr. Allen currently serves as cellist of the newly formed Rousseau Quartet. He has studied chamber music with renowned artists including as Pinchas Zukerman, Michael Tree, and Lawrence Dutton.

Cellist Mikala Schmitz, age 20, is a senior at the Oberlin College Conservatory of Music, studying with Darrett Adkins. Her previous teachers were Derek Barnes of the Philadelphia Orchestra, Mary Eleanor Pitcairn, and Alicia Randisi. Ms. Schmitz began her cello studies at the age of two and has enjoyed performing chamber music since she was four. Her first concerto performance was with the Bucks County Symphony at the age of eight. Ms. Schmitz has won and placed in several concerto competitions, including the Philadelphia Orchestra Greenfield Competition and the Settlement Concerto Competition. She has participated in the Delaware Chamber Music Festival, the Kimmel Center Chamber Music program, Greenwood Music Camp, Encore School for Strings, and the Aspen Music Festival. Ms. Schmitz has performed on National Public Radioĺ─˘s ĺ─˙From the Topĺ─¨ and is the recipient of the George S. Snyder Scholarship Award for most promising young musician. She is currently principal cello of the Firelands Symphony Orchestra under its music director, Carl Topilow. Ms. Schmitz is a resident of Lansdale, Pennsylvania.

Cellist Avery Waite, a senior at the Oberlin College Conservatory of Music, began studying cello at the age of nine. Currently a student of Darrett Adkins, he has also studied with Neal Cary and Amir Eldan. Originally from California, Mr. Waite is the recipient of many awards and scholarships, including the Mu Phi Epsilon Scholarship, the Sacramento Symphony League Scholarship, and the McCrory Foundation String Scholarship. His awards include the Agnew Prize for ĺ─˙Best Interpretation of a Bach Suiteĺ─¨ from the Cleveland Cello Society, first place in the Bland Competition, and finalist in the Richmond Symphony Competition, the National Symphony Orchestra Institute Competition, and the Oberlin Concerto Competition. In 2008, he was awarded an Oberlin Conservatory Creativity Grant to teach, travel, and perform chamber music in Italy. He was also selected to participate in the 2008 New York String Seminar Program at Carnegie Hall with Jaime Laredo. Mr. Waite has performed in masterclasses for Anner Bylsma, Matt Haimovitz, Desmond Hoebig, and Steve Doane, and for members of the Juilliard, Miami, Shanghai, Takł░cs, and Ying string quartets.

COC Adds encore performance of The Nightingale and Other Short Fables

Toronto, Ontario ĺ─ý Due to unprecedented demand for tickets, the Canadian Opera Company has added an extra performance of Igor Stravinskyĺ─˘s The Nightingale and Other Short Fables on Monday, November 2, 2009 at 7:30 p.m. at the Four Seasons Centre for the Performing Arts. Tickets are now available for the additional performance which extends the production run from eight to nine performances. The remaining regularly scheduled performances ĺ─ý October 22, 24, 30, and November 1, 4, 5 ĺ─ý are now sold out.

The Nightingale and Other Short Fables is directed by visionary Canadian Robert Lepage and received extraordinary critical acclaim following its world premiere on October 17, 2009. After the sold-out opening performance, the COC Box Office fielded a record number of calls in a single day and prompted the COCĺ─˘s administration to search for an additional performance opportunity.

ĺ─˙We are delighted by the overwhelming public response to The Nightingale and Other Short Fables,ĺ─¨ said Alexander Neef, General Director of the Canadian Opera Company. ĺ─˙And I am very glad that the artists of the company were available to add this performance to their schedules on such short notice. As we are the only North American presenter, this extra performance allows 2,000 more audience members a chance to experience the wonder of this unique and spectacular production.ĺ─¨

The Nightingale and Other Short Fables is a co-production with the Festival dĺ─˘Aix-en-Provence and Opłęra national de Lyon, in collaboration with Mr. Lepageĺ─˘s production company Ex Machina. The Nightingale and Other Short Fables is sung in Russian with English SURTITLESĺĐó.

Tickets for The Nightingale and Other Short Fables are available online at coc.ca, by calling 416-363-8231, or in person at the Four Seasons Centre Box Office (145 Queen St. W., Toronto). Ticket prices for all performances range from $20 to $292. $10 tickets are available for patrons between the ages of 16 and 29 through the Opera for a New Age program presented by TD Bank Financial Group and may be purchased online at coc.ca or in person at the Four Seasons Centre Box Office.

This production has been financially assisted by the Ontario Cultural Attractions Fund of the Government of Ontario through the Ministry of Culture, administered by the Ontario Cultural Attractions Fund Corporation.

The Nightingale and Other Short Fables has been generously underwritten in part by The Catherine and Maxwell Meighen Foundation.

Saturday the 14th of November 2009 at 8:00 pm at Teatro Salieri (phone +39 0442 25 477 www.teatrosalieri.it), Legnago (Italy) first staging in modern times of the opera Il mondo alla rovescia (The world upside down), by Antonio Salieri. The libretto is taken from the analogous Carlo Goldoni's play. This staging is a co-production between the Fondazione Culturale Antonio Salieri, of Legnago, and the Fondazione Arena di Verona.

After the premił«re in Legnago, the town where the great composer Salieri was born, there will be five performances at Teatro Filarmonico in Verona (www.arena.it), on the 20-22-24-26-28 November.

The dramma giocoso was first staged at the Burgtheater in Vienna in 1795. John A. Rice, in his decisive study on Salieri, devotes many pages to the "musical richness of Mondo alla rovescia".

THE PLOT

We are in a far remoted island, where the social relations between men and women are upside down: the women hold the power (in the private life as well as in politics and in the military), whereas men have taken up the so-called feminine roles. Two Europeans, a man (a Count) and a woman (a Marquess), are taken prisoners. They will throw the existing balances into disorder. At the end the Count will stay on the island, marrying the Colonel (who is a she); the Marquess will instead go back to Europe, coupling with the nephew of the General (she). The opera ends then with a peace message, not only one of blending of cultures. The Count says he wants to stay ĺ─ý not only to marry the Colonel(la). Exchange of cultures, freedom of decision, possible worlds, less certainties: the "moral" of the opera becomes quite conciliating. The reality of the exchange of cultures lessen the moral judgement on the women in power. On the musical level, the final chorus praising love is sung by the European soldiers as well as by the island soldiers (women): the island upside down world looks like one of the possible worlds._________________________________Tickets at Teatro Salieri, Legnago: from ĺăĘ 9 to ĺăĘ 29, on sale from October 27th at the Theatre box office, + 39 0442 25 477. Tickets are also on sale at the phone with credit card; online, www.teatrosalieri.it._______________________________________________Tickets for Teatro Filarmonico, Verona: from ĺăĘ20 to ĺăĘ60, on sale at the Theatre box office, +39 045 800 5151.____________________________________________Teatro Salieri is run by the Fondazione Culturale A. Salieri. The Founders are:Comune di Legnago, Fondazione CariVerona, Riello SpA, Riello Elettronica SpA, Provincia di Verona, CrediVeneto.

Conductor, musicologist, composer. www.modoantiquo.comĺ─«In 1984 Sardelli founded the Baroque orchestra Modo Antiquo, with which he appears at major festivals and concert halls throughout Europe as both soloist and conductor. He is regularly invited to the most prestigious European concert halls.

He appears as a guest conductor with many symphony orchestras, such as the Orchestra of the Maggio Musicale Fiorentino and the Mantova Chamber Orchestra.

Since 2006 he has been principal guest conductor of the Turin Philharmonic Orchestra.Sardelli has made more than forty recordings as soloist and conductor, part of them in co-production with the German broadcast company Westdeutscher Rundfunk (WRD 3). He has twice been nominated for the Grammy Awards, and he is one of the top artists of the "Vivaldi Edition" by Nałěve.

He will record for Deutsche Grammophon Hłžndel's arie, also on tour with Ildebrando D'Arcangelo.

Sardelli is a protagonist in the Vivaldi renaissance: he conducted the world premiere recording and performance of the operas Arsilda Regina di Ponto, Orlando Furioso, Tito Manlio, Montezuma, and Atenaide.

Among his past engagements Handel's Ariodante at the Opera House in Halle. He conducted Domenico Sarro's Achille in Sciro (first performance in modern times) at the Festival della Valle d'Itria, Italy.

As principal guest conductor of the Turin Philharmonic Orchestra, he is regularly invited to conduct Classical and Early Romantic repertoire on modern instruments but with historically informed practice. In particular, his performances of Beethoven's symphonies and overtures has received the highest critical acclaim.In november 2008, he conducted at the Accademia Filarmonica Romana in Rome.

He recently conducted a concert of unpublished Vivaldi's pieces for Il Genio Fiorentino, which have been also recorded as an album called "Vivaldi: New discoveries", just issued by Nałěve. At the Santiago de Compostela Festival he made his debut with Juditha Triumphans. Then he will conduct Hłžndel's Concerti grossi op. III at the Hłžndelfestspiele in Halle and Juditha Triumphans at the Festival Soli Deo Gloria in Braunschweig (art director John Eliot Gardiner).

Other opera engagements include: Ariodante at the 2009 Festival International de Musique Baroque de Beaune and at the Festival Via Stellae in Santiago de Compostela; Die SchłĆpfung al Teatro Carlo Felice di Genova. In 2010 he will conduct Alcina in a new production at the Teatro Municipal in Santiago in Cile.

Alongside his career in the concert hall, he is also active as a musicologist. He is a member of the musicological committee of the Istituto Italiano Antonio Vivaldi, and published many essays and critical editions (among these, Vivaldi's Music for Flute and Recorder, published in the United Kingdom by Ashgate). He is general editor of the collection of facsimile editions Vivaldiana and of the Opere Incomplete (SPES, Florence).Peter Ryom appointed him as Chief Responsible of the Vivaldi Catalogue (RV).

Federico Maria is also painter, engraver and satirical writer.

Marco Gandini

Marco Gandini, 1966, starts as actor in production by Giorgio Marini, Sylvano Bussotti and Giancarlo Cobelli.ĺ─«ĺ─«In 1990 and 1991 he works as stage manager and director assistant at Teatro dell'Opera in Rome, for both winter and summer seasons at Caracalla Baths, and in following years as first assistant of Filippo Crivelli, Lofti Mansouri, Giuliano Montaldo, Mauro Bolognini, Pier Luigi Pizzi, Hugo de Ana, Nuria Espert.ĺ─«ĺ─«1992 signs the beginning of an uninterrupted collaboration with Franco Zeffirelli for opera and movie. ĺ─«In recent years he has been assisting Graham Vick for both new productions and revivals.ĺ─«ĺ─«He has worked in almost every opera house in Italy and most regularly at Teatro alla Scala, Opera di Roma, San Carlo di Napoli, Comunale di Bologna, Arena di Verona, Comunale di Firenze, Teatro Massimo di Palermo, as well as in many Opera Houses abroad such as Royal Opera House Covent Garden New York Metropolitan Opera, Washington and Los Angeles Opera, New Israeli Opera in Tel Aviv, Teatro Liceu in Barcellona, Teatro Real in Madrid, Teatro della Maestranza in Seville, San Petersburg, New National Theatre in Tokyo. ĺ─«In 1997 he debuted as director with a new production of Gianni Schicchi by Puccini at Teatro Filarmonico in Verona, soon after revived in Palermo and in Verona again.ĺ─«ĺ─«Other new productions follow: Tabarro (Verona), La Lupa by Marco Tutino (Palermo), L'Amico Fritz (Catania and Verona), Gianni Schicchi in another brand new production specially designed for Japan Tour of Teatro Comunale in Bologna and then revived in Italy, Tancredi by Rossini (Piacenza, Reggio Emilia, Modena and Ferrara), La Zingara by Donizetti e Le Due Contesse by Paisiello at Festival della Valle d'Itria in Martina Franca, Il Barbiere di Siviglia and La Gazzetta at Garsington Opera Festival in England, Cavalleria Rusticana and La Vida Breve in Livorno, for the opening of the newly restored Teatro Goldoni, La Traviata (Brescia, Bergamo, Cremona, Pavia, Sassari e Genova), La Finta Semplice at Teatro Malibran (Venezia), L'italiana in Algeri (Treviso), Il Flauto Magico at Teatro Olimpico in Vicenza, I Giochi d'Agrigento by Paisiello at Festival della Valle d'Itria in Martina Franca, Pagliacci (Sassari), CosłĘ Fan Tutte (coproduction between Fondazione Toscanini and Israeli Opera).ĺ─«ĺ─«Recent new productions: Don Bucefalo in Martina Franca, Un Ballo In Maschera in Firenze (2008), L'Elisir d'amore in Tokyo 2009, Cosi Fan tutte in Palermo (2009) Les Dialogues de Carmł«lites Tokyo (2009), Orphł«e Aux Enfer in Cagliari, and Pia de' Tolomei by Donizetti for the opening of a new Opera House in Tokyo.

Toronto October 21, 2009: Nationally acclaimed saxophonist Mike Murley steps into the spotlight November 17 at the Tribute Communities Recital Hall as the featured performer in York Universityĺ─˘s Faculty Concert Series.

Recognized as one of Canadaĺ─˘s finest jazz talents, Murley is very active as a bandleader, sideman, composer and arranger. Heĺ─˘s an eight-time winner of the Jazz Reportĺ─˘s "saxophonist of the year" distinction, and has nine Juno Award-winning recordings to his credit. A former member of the celebrated ensembles Time Warp and the Shuffle Demons, his performance and recording credits include Metalwood and the Rob McConnell Tentet, collaborations in the Murley/Occhipinti Duo, Murley/Braid Quartet, David Liebman/Mike Murley Quartet and DMBQ, and his own trio, quintet and septet.

Murleyĺ─˘s latest recording as a leader, The Melody Lingers On (CBC Records), features his trio live in concert at Torontoĺ─˘s Glenn Gould Studio with a 12-piece string ensemble conducted by Rick Wilkins, playing string arrangements by Murley and Reg Schwager. Last year he released two new recordings as a co-leader, DMBQ Live and Day and Night with his former teacher, David Liebman.

Murley is also featured on the recent Bravo! DVD release Solos ĺ─ý The Jazz Sessions, a 39-episode music performance/profile series that spotlights unaccompanied performances by some of the legends and young stars of the jazz world.

In his York U showcase concert, Murley will be featured in a variety of settings ranging from duo to septet. He will be joined on stage by his fellow faculty members, Music Department Chair Barry Elmes on drums, Oscar Peterson Chair Ron Westray on trombone, Kevin Turcotte on trumpet and Jim Vivian on bass. Guest artists, pianist David Restivo and alto saxophonist Tara Davidson round out the ensemble.

The eveningĺ─˘s playlist includes original compositions as well as jazz standards. Murley will premiere new arrangements of his compositions dedicated to his native Maritime roots and the Bay of Fundy region. Complementing this material will be his adaptation for jazz septet of the traditional Celtic melody Shule Agra.

Murley is an alumnus of Yorkĺ─˘s Music Department, where he currently heads the jazz studies area. His November 17 concert is the second of five performances in the Faculty Concert Series spotlighting faculty artists in the Department of Music at York University. Upcoming concerts will feature cellist Mark Chambers (Jan. 19), pianist Michael Coghlan (Feb. 2) and jazz drummer Barry Elmes (Mar. 2).

Persephone Productions presents Be My Baby Oct. 29 - Nov. 14

Set in a small industrial town in 1964, Be My Baby follows 19-year-old Mary Adams, who is seven months pregnant and has been sent to a mother and baby home. Mary and her fellow inmates have to cope with the shame of their pregnancy and the dawning realisation that they must give up their baby for adoption. Despite the daily battles with a no-nonsense Matron in the rigid routine of the Anglican home, the girl's effervescence shines through as they find comfort in each other's friendship, sharing youthful fantasies of love and marriage. They take courage and solace from the 60s pop music that captures the passionate innocence of the play's characters, providing a bittersweet sound track to a deeply moving story.

Specialized Music Recording Cuts

Parliamentary Standing Committee on Canadian Heritage Holds Hearings on Cuts to Musical Diversity Program: CLC, CNMN, and JFC Ask Heritage Canada to Follow Its Own Recommendations!

The Canadian League of Composers (CLC), Canadian New Music Network (CNMN), and Jazz Festivals Canada (JFC) are united in their opposition to Heritage Canada's withdrawal of Canada Music Fund money from The Canada Council for the Arts' Specialized Music Recording Program.

For twenty years, this program has delivered essential support to non-commercial Canadian music. It has also given a head start to a rich diversity of talented musicians - artists such as Diana Krall, and entire genres such as Celtic music, to name but a few. This is music which speaks to Canadians, and raises the profile of Canadian music around the world. It also plays an essential role in the health of Canada's musical ecosystem. The same artists who produce the commercial music of which Canada is so justly proud also rely on a diversity of non-commercial music to maintain their creative powers, using it as a laboratory, an incubator of fresh artistic ideas and expression.

For this reason, taking away support for non-commercial recording harms not only whole genres such as classical, contemporary, musique actuelle, jazz, improv, world music, folk, and roots music. It hurts the commercial industry as well. The two are not separate. Creative music making - in any genre - does not come out of the board rooms of music corporations. This short-term decision will, in the longer term, damage the entire Canadian music industry.

Music making is not just about record sales or downloads. The music industry understands this. The Canadian Academy of Recording Arts and Sciences (who run the Juno awards) has a very active music education program (MusiCounts), as does the Music Industry Association of Canada and the SOCAN performing rights organization, through the SOCAN Foundation. These groups are funded by the commercial music industry, and they realize that promoting a wide range of musical activities is both good for business and good for art.

This decision followed a report of the Sound Recording Industry commissioned by Heritage Canada ("Summative Evaluation of the Canada Music Fund"). Yet the decision contradicts several of the study's key findings: first, that very few projects are "double dipping", that is, FACTOR and MUSICACTION are not duplicating the Specialized Music Recording program; second, that the funding for Specialized Recording should become part of The Canada Council's regular operating budget (section 5.3.2 of the report - " suggested monies devoted to the CMD component simply should be transferred to the A-base of the Canada Council.").

The report also points out: "Of the three CMF components covered by the survey of recipients, the CMD component (Grants for Specialized Music Recording Production) had the largest incremental impact on the production of sound recordings." (section 6.1.3). So it appears the demonstrably most effective part of the program has been cut.

The report also suggests: "PCH should re-design the Canada Music Fund and consult with the music industry as part of the re-design process". This would have to include the entire industry, including non-commercial artists and their labels, who the report agrees are an integral and important part of the Canadian music system. (section 6.2.1)

All we are asking is that the government follows its own exhaustive, comprehensive and very well-researched report! The report does not suggest withdrawing this funding, but considers adding it to The Canada Council. Heritage Canada claims that the funding will continue to support non-commercial genres by being transferred to FACTOR and MUSICACTION. This is wishful thinking. Although both agencies play a vital and efficient role in supporting commercial music, they depend on commercial broadcasters for funding, and measure success by sales. They have neither the incentive nor the experience to serve non-commercial music.

Finally, it sets a disturbing precedent to cut this funding just at the time The Canada Council is undergoing a strategic review. It is ineffective, inefficient and incomprehensible that the government would chose to withdraw funding from a program (Specialized Recording) administered by an agency that has consistently received excellent reviews from the Auditor General. Such a punitive decision raises questions about the current government's commitment to the cherished and hard-won principle of arm's-length arts funding in Canada.

If Canada continues to offer a broad diversity of music to its public and if creativity and imagination are given equal place along with commercial considerations, then we will have a strong and healthy environment for music, which helps all artists, all music lovers, and the music industry. It is an interconnected ecosystem that needs every form of music to continue to be available to the Canadian public. We urge the government to reconsider this decision, and to do what is right for Canadian music - for all Canadian music.

BC Drummer Earns Top Honors at First Roland V-Drums National Drum Solo Competition

MONTREAL, Oct. 29 /CNW/ - Last weekend, sticks flew on the Montreal Drum Fest stage as the two regional finalists of the Roland V-Drums Contest, Gary Grace and Francois Lalibertłę, went head-to-head to see who would be crowned the Roland V-Drums Contest National Grand Champion. After an intense drum-off, the esteemed panel of judges, including Montreal's own extreme metal drummer Flo Mounier, declared Gary Grace from Port Coquitlam, BC the winner. Gary took home the title of Roland V-Drums Contest National Grand Champion and a top-of-the-line, Roland TD-20KX V-Pro Series V-Drums Kit.

Both contestants took to the stage with an energy level and enthusiasm that filled the auditorium with excitement. The audience of over 500 people watched as first Gary then Francois showcased their drum solo chops, which highlighted their knowledge of the V-Drums as well as their incredible technique and versatility.

When asked about his win, Gary said, "It was a great feeling to hear (my name announced as the winner). There was a sigh of relief and excitement all at once. I turned to Francois and told him how talented I thought he was and that his future will be full of great things. I'm very excited about what this can do to help me in my career and now as the owner of a TD-20KX kit, I can really explore these drums. This has been a tremendous experience!"

Gary Grace was born into a family of drummers, following in the footsteps of both his father and older brother. Growing up, Gary was interested in many different genres and musical styles. Gary went on to study at the Crane School of Music in New York and has studied under many other drumming greats including Joe Morello and Jim Chapin. He has shared the stage with many great Canadian musicians and currently performs with the Canadian classic rock band "Prism." When not performing, Gary passes on his talent and knowledge to his students.Francois picked up his first pair of sticks at the age of eight, and hasn't looked back. He has studied with many internationally know percussionists, and is currently studying at Cegep St-Laurent in Montreal. As the runner-up in the Roland V-Drums Contest and for putting on a spectacular performance at the Montreal Drum Festival, Francois Lalibertłę was awarded a Roland TD-9KX V-Tour Series V-Drums kit.

Over the past few months, Roland Canada has been hosting the Roland V-Drums Contest, a national drum solo competition that gave drummers from across Canada the chance to compete for an autographed, top-of-the-line, Roland TD-20KX V-Pro Series V-Drums kit and the opportunity to perform on the prestigious Montreal Drum Fest stage. The contest finals were held on October 24, 2009 at the Montreal Drum Festival. Stay tuned for the 2nd Roland V-Drums Contest launching in Spring 2010!

About Roland Canada Ltd.

Roland is a world leader in the design, manufacture and distribution of electronic musical instruments, professional audio equipment, multimedia products and music accessories. The Roland brand family includes Roland, BOSS, EDIROL by Roland, Rodgers, RSS by Roland, and Cakewalk by Roland. Roland's impressive line of products includes, but is far from limited to, guitar effects pedals, electronic percussion, acclaimed digital pianos, synthesizers, digital mixers and music production software.

Analekta wins 4 Fłęlix / Analekta rłęcompensłęe par 4 Fłęlix

ANALEKTA WINS 4 FłÔLIX AT THE ADISQ GALASWEBSITE OF THE YEAR AS WELL AS ALBUM OF THE YEAR IN THE CATEGORIES "ORCHESTRA AND LARGE ENSEMBLE", "SOLOIST AND SMALL ENSEMBLE" AND "JAZZ CREATION"

Montreal, October 27, 2009 ĺ─ý Analekta is proud to announce that it has received 4 Fłęlix at the ADISQ Galas, held yesterday in Montreal, including "Website of the year". This brand new site, more convivial, has been entirely designed and programmed by the dynamic team at Motion in Design. Aiming to become the meeting ground for classical music lovers, the Website grants the possibility of accessing and listening to the complete catalogue in streaming. It also includes exclusive videos, the downloadable Analekta Radio and a blog. A forerunner in its domain, Analekta will soon initiate new and important developments that, without a doubt, will maintain analekta.com at the avant-garde of the Canadian musical industry.

Angł«le Dubeau & La PietłŢ were recognized in the category "Classical Album of the Year: Orchestra and Large Ensemble" for the recording of Philip Glass: Portrait, unanimously acclaimed by critics. In addition, this recording has been nominated in the "Sound Recording and Mixing Award" category for the outstanding work of Carl Talbot, the official producer at Analekta. This Fłęlix is the eleventh won by Angł«le Dubeau for a recording on the Analekta label.In the category "Album of the Year: Soloist and Small Ensemble", the first collaboration on disc of brothers Alain and David Lefł«vre, won a trophy. On this album, they performed sonatas by Cłęsar Franck and Guillaume Lekeu and presented the first recording of Andrłę Mathieu's Ballade-fantaisie. This Fłęlix is the sixth awarded to Alain Lefł«vre for his recordings.

Lorraine Desmarais ĺ─ý Big Band, the tenth recording in the career of Lorraine Desmarais, and the first produced with a big band, has, moreover, been recognized in the category "Jazz Album of the Year ĺ─ý Jazz Creation". Let's recall that two of the previous Lorraine Desmarais albums ĺ─ý including Jazz for Christmas, on the Analekta label ĺ─ý have previously won Fłęlix.

The label had received 11 nominations in 7 categories. With these three new awards, ANALEKTA confirms the unique position it holds in the Canadian music market and maintains its standing as one of the most important recording houses in Canada, all categories taken together. ANALEKTA wants to salute the talent of the nominated artists and the excellence of their performances.

An icon of the Brazilian music, Gal Costa will perform for the first time ĺ─«in Canada at Massey Hall, on November 15th

Toronto, ON, October 22th, 2009 ĺ─ý Gal Costa is a true icon of the Brazilian Tropicalia movement in music. With more than 30 recordings spanning a career of 40 years, she will be making her Canadian debut at Massey Hall, on November 15th, after the past successful Toronto run of her fellow Tropicalistas Gilberto Gil and Caetano Veloso. Galĺ─˘s one night performance in Toronto is preceded by four nights at the legendary Blue Note Jazz Club, in New York, and closes her North American tour.

The grace and style of Gal, her signature voice, heard in every delicate, yet forceful note, symbolizes one of the worldĺ─˘s most passionate places. A Brazilian musical legend, Gal will be singing the music of Brazilĺ─˘s greatest composers, and she will be joined by Romero Lubambo, a master in his own right, on Brazilian guitar.

A fundamental presence in the Tropicalia movement, Gal, as she is called in her home country, has been part of Brazil's leading group of singers since the 1960s. At the age of 19, in 1964, Gal initiated her performing career with Caetano Veloso in the presentation of the opening of the Teatro Vila Velha in Salvador, Brazil. The show, called ĺ─˙Nłäs, por exemploĺ─¨, brought together the founding members of a movement that would become iconic in Brazilian music history: Caetano Veloso, his sister Maria Bethłónia, Gilberto Gil, and Gal Costa (still under her name Maria da Grał▀a). The show would spark an artistic relationship that would mark a generation.

She gained international exposure in the 1980s, touring Japan, France, Israel, Argentina, the United States, Portugal, Italy, among others. Gal Costa continues to be a viable and active artist in the 21st century, issuing new recorded material. However the repackaging of her previous work, which is becoming renowned in the category of Brazilian classics, is currently hitting the market by storm. Galĺ─˘s newest recording, Live at the Blue Note, features the consummate Brazilian diva performing a selection of Bossa Nova songs in an intimate setting at this New York legendary club in 2006. Delicate, yet with an underlying tough sexiness, Gal Costa's voice is the perfect vehicle for such Bossa classics as "Corcovado" and "Garota de Ipanema".

Romero Lubambo, guitar

Born in Rio de Janeiro in 1955, Romero Lubambo graduated from the Villa-Lobos School of Music in Rio in 1978, as an outstanding student of classical guitar. The rhythms and melodies defining Brazilian music and American jazz fascinated Lubambo. He taught himself through intense research and practice, developing exceptional skill, versatility and fluency in both jazz and Brazilian idioms. In 1985, Lubambo left Brazil for New York, where he became very popular, not only for his authentic Brazilian sound, but also for his command of a variety of styles.

Lubambo has established himself as a composer and performer on his recording projects and collaborations with many outstanding artists, including Diana Krall, Herbie Mann, Wynton Marsalis, Grover Washington Jr., Vernon Reid, Flora Purim and Airto Moreira, Sadao Watanabe, Paquito D'Rivera and Harry Belafonte among many others.

Sambacana

Sambacana, an exciting Brazilian music ensemble based in Canada, has been performing for Toronto's growing Brazilian community to great critical acclaim. The release of their first CD, ĺ─˙Nłäsĺ─¨, features guest maestro Filłä Machado, who'll be performing with them at Massey Hall.

Symphony Nova Scotia and John McDermott honour our veterans

Halifax NS ĺ─ý Symphony Nova Scotia joins Irish tenor John McDermott in concerts of remembrance on Friday, November 6 at 7:30 pm and again on Sunday, November 8 at 2:00 pm, both at the Rebecca Cohn Auditorium.

To the generation that remembers the World Wars, John McDermottĺ─˘s music conjures up a vivid emotional landscape, evocative of love, loss, and history. These Remembrance Day performances, conducted by Symphony Nova Scotia Resident Conductor Martin MacDonald, will pay tribute to our veterans with classic wartime songs like Danny Boy, Iĺ─˘ll Be Seeing You, My Bonnie, The Dreamer, Scotland the Brave, The Gift of Years, By Yon Bonnie Banks, and many more.

"So much of the music I sing really speaks to the veterans' experience,ĺ─¨ says McDermott. ĺ─˙I feel a great deal of respect for the men and women who put their lives on the line for the sake of their country.ĺ─¨

McDermott has become known as much for his commitment to veterans' causes as for his successful musical career, and Symphony Nova Scotia is proud to join him in honoring our veterans with this special pair of performances.

Get your tickets now! Prices range from $29-49 (HST included), or you can pick up a subscription package and save up to 30%. For tickets and more information, call 494.3820 or visit our website at www.symphonynovascotia.ca.

About John McDermott

The ninth of twelve children, McDermott came from a traditional Glasgow Irish family who emigrated from Scotland to Canada in the 1960s. John's musical roots are equal parts Scottish and Irish and his songs showcase his innate understanding and facility with traditional folk melodies as well as more contemporary stylings. He has been awarded the Congressional Medal of Honor Society's "Bob Hope Award," and works closely with organizations like the Medal of Honor Society, the War Amps of Canada, the Semper Fidelis Society, and the New England Shelter for Homeless Veterans.

About Symphony Nova Scotia

Symphony Nova Scotia is Nova Scotiaĺ─˘s orchestra. Each year more than 50,000 audience members (including 15,000 young music lovers) join us in communities across Nova Scotia for performances of the music they love ĺ─ý from baroque and classical to pop and rock and folk. Under the inspirational leadership of Music Director Bernhard Gueller, Symphony Nova Scotia is recognized as one of the finest orchestras in the country. Visit www.SymphonyNovaScotia.ca to learn more, listen online, or subscribe today!

Symphony Nova Scotia is grateful to the Canada Council for the Arts, Nova Scotia Tourism, Culture, and Heritage, and the Halifax Regional Municipality for their continued support.

Toronto, Ontario ĺ─ý The Canadian Opera Company (COC) and celebrated Canadian tenor Ben Heppner are pleased to announce that Mr. Heppner will perform a special solo recital for all ticket holders of the COCĺ─˘s Diamond Anniversary concert. Mr. Heppner, who was to have been featured at the concert, was forced to withdraw late last week due to illness. The recital with piano, to take place on the stage of the Four Seasons Centre for the Performing Arts at a date to be announced soon, will be free for all ticket purchasers of the Saturday, November 7, Diamond Anniversary concert. Ticket holders will be contacted with full details once the date is announced.

ĺ─˙We know Benĺ─˘s appearance was highly anticipated by many people, and we understand they are as disappointed by his cancellation as we are. We asked him if he could offer our audience a special recital with piano on the Four Seasons Centre stage. He immediately agreed, and we are eager to have him back with us soon,ĺ─¨ says Alexander Neef, General Director. ĺ─˙I am very pleased that we will be providing our 60th anniversary concert-goers with a program of the highest calibre, as well as a solo recital by Ben later this season. All this makes our 60th anniversary even more exciting!ĺ─¨

The COCĺ─˘s 60th Anniversary Concert takes place as planned on Saturday, November 7, 2009 at 7 p.m. at the Four Seasons Centre for the Performing Arts, with a pre-concert reception beginning at 6 p.m. Last week, after Mr. Heppner was forced to withdraw from performing at the concert, the COC quickly signed opera stars Ramłän Vargas, John Treleaven, and Canadaĺ─˘s own Russell Braun to replace the ailing singer. The concert also features the COC Orchestra, led by Johannes Debus, making his debut as COC Music Director.

Regulars at all the great opera houses of the world, Ramłän Vargas, Russell Braun and John Treleaven perform extensively with the Metropolitan Opera, La Scala, Vienna Staatsoper, Paris Opera, the Royal Opera House, Covent Garden, Munich Staatsoper, and San Francisco Opera, among many others. The eveningĺ─˘s concert program has retained most of its original repertoire with Mr. Vargas singing from the romantic French repertoire,

The COCĺ─˘s 60th Anniversary Celebration on Saturday, November 7, 2009, begins with a pre-concert reception at 6 p.m. in the Isadore and Rosalie Sharp City Room at the Four Seasons Centre, followed by the concert which begins at 7 p.m. All tickets include a complimentary glass of Trius Brut sparkling wine or Peller Estates Icewine.

The COC is grateful to Colleen Sexsmith for offering her generous financial support to help make the COCĺ─˘s Diamond Anniversary concert possible, in part through underwriting Ramłän Vargasĺ─˘s and John Treleavanĺ─˘s respective performances.

Symphony Nova Scotia puts spotlight on concertmaster Robert Uchida

As the ĺ─˙bowsĺ─¨ part of the concert, Uchida and the orchestra will perform the Nova Scotian premiere of Canadian composer Andrew P. MacDonaldĺ─˘s Violin Concerto. This concerto won the Juno Award for Best Classical Composition in 1995, and Fanfare described it as ĺ─˙sparkling with life, both in its brilliant writing for the soloist and its imaginative use of orchestral colour.ĺ─¨

ĺ─˙The MacDonald Violin Concerto is one of the greatest Canadian pieces written for solo violin,ĺ─¨ says Uchida, who will be performing the concerto under the baton of Symphony Nova Scotia Music Director Bernhard Gueller. ĺ─˙I am very excited to be a part of its introduction to the Nova Scotia audience. This concerto has everything ĺ─ý from incredible virtuosic writing to sheer depth, lyricism and beauty.ĺ─¨

The ĺ─˙brushstrokesĺ─¨ section of the concert is made up of Respighiĺ─˘s Botticelli Pictures, which he wrote in honour of the three of Botticelliĺ─˘s most famous paintings ĺ─ý Spring, The Birth of Venus, and The Adoration of the Magi. This musical representation transforms colour into sound, capturing the mood, light, and passion of the art of Botticelli.

The orchestra will complete the concert with a performance of Schubertĺ─˘s buoyant, joyous Symphony no. 5.

Get your tickets now! Prices range from $29-49 (HST included), or you can pick up a subscription package and save up to 30%. Under age 30? Pay only $15 with your TD Under-30 Access Pass, now available at the box office. For tickets and more information, call 494.3820 or visit our website at www.symphonynovascotia.ca.

About Robert Uchida

Hailed by critics for his ĺ─˙rich tone and virtuosic techniqueĺ─¨ (the Chronicle Herald), Canadian-born violinist Robert Uchida has quickly established himself as a collaborative artist and concertmaster of distinction. Regarded as a musically sensitive and cerebral performer, Uchida has performed as a soloist and concertmaster across North America and Europe. His most recent recording, Sonata for Unaccompanied Violin by Andrew Violette, has been released through Innova Records and is receiving rave reviews.

About Symphony Nova Scotia

Symphony Nova Scotia is Nova Scotiaĺ─˘s orchestra. Each year more than 50,000 audience members (including 15,000 young music lovers) join us in communities across Nova Scotia for performances of the music they love ĺ─ý from baroque and classical to pop and rock and folk. Under the inspirational leadership of Music Director Bernhard Gueller, Symphony Nova Scotia is recognized as one of the finest orchestras in the country. Visit www.SymphonyNovaScotia.ca to learn more, listen online, or subscribe today!

Symphony Nova Scotia is grateful to the Canada Council for the Arts, Nova Scotia Tourism, Culture, and Heritage, and the Halifax Regional Municipality for their continued support.

The Music Scene Winter 2010 Issue to Appear

The Winter 2010 issue of The Music Scene will be distributed on November 16 and the deadline for advertising is November 9, 2009.

The Winter 2010 issue of The Music Scene will be a special focus on Education. Our cover features an in-depth spread on the world-renowned El Sistema music education program created by Jose Abreu. The Venezuelan system provides free music education to lower-income children and has since spawned many similar programs across the globe, including a couple in Canada. The issue will also feature The Music Scene's annual Guide to Higher Education. Nowhere else can students or parents find such a complete and easy-to-follow summary of the country's top music programs. Complementing our guide are interviews with top music educators, in-depth reviews of the best programs, and updates on higher-education news, including an overview of the most exciting musicological research from the past year. We will also look at new pianos from Yamaha and Roland.

Our winter 2010 issue will also celebrate the Canadian Music Centre's 50th anniversary and the Canadian Opera Company's 60th anniversary. The COC's new artistic director Johannes Debus will also be the subject of a featured interview. We also look at the innovative Calgary Opera. All this and our CD/DVD/Book reviews and our Southern Ontario and Ottawa concert picks for November to March.

The Music Scene reaches over 50,000 readers with 25,000 copies distributed in Ontario and English Canada.

La Scena Musicale/The Music Scene is a registered charity promoting music and the arts through three magazines and a website. We connect musicians/artists, the arts community and music/art lovers together through education and information. Help us continue our work with a donation (cash or goods) or by volunteering.

Wednesday, November 4, 2009

Laurence Kayaleh (concerts)

TORONTO :

Sundays@3 - Royal York Road United Church presents the INAUGURAL CONCERT of the SERIES

Sunday, November 15, 2009 at 3 PM / Royal York Road United Church, Toronto851 Royal York Road is located 3 blocks south of Bloor at GlenroyCall 416-231-9401 or online at http://www.royalyorkroadunited.ca

"Suddenly a mist fell from my eyes and I knew the way I had to take." Edvard Grieg

Toronto, ON. October 2, 2009: One of the great Canadian International Concert Violinists, Laurence Kayaleh teams up with pianist Midori Koga at Royal York Road United Church, 851 Royal York Road (3 blocks south of Bloor at Glenroy) for only one Toronto performance on Sunday, November 15 at 3 PM. Laurence Kayaleh, Professor at the "Universitłę de Montrłęal" has been described as "an exceptional violinist of deep musical insight, whose rich, singing tone and feeling for style set her apart from the ranks of todayĺ─˘s virtuoso artists." Ms. Kayaleh has performed as soloist at the Bolchołě Hall and at the Tchałěkovsky Hall in Moscow, with the Russian National Orchestra under Mikhałěl Pletnev, at the Pleyel Hall in Paris with the Lamoureux Symphony Orchestra under Gregorsz Novak sharing the concert with violinist Igor Ołěstrakh, at the Lied Center in Lincoln, at the Arts Center in Osaka and at the Suntory Hall in Tokyo. Her American career rewarded her with standing ovations wherever she performed: at the Blossom Festival with the Cleveland Symphony Orchestra, at the Kennedy Center with Washingtonĺ─˘s National Symphony Orchestra under Leonard Slatkin, who described her as a "unique musician", and at the Powell Hall with the Saint Louis Symphony Orchestra. She performs on a beautiful Guarnerius built in 1742, which belonged to the famous violinist and pedagogue, Carl Flesch.

With performances described as ĺ─˙passionateĺ─¨ (Ann Arbor News) and ĺ─˙terrificĺ─¨ (St. Petersburg Times), pianist Midori Koga has been featured as soloist and chamber musician throughout the world, including appearances at the American New Arts Festival, the Al Fresno New Music Festival, the ProMozart Society of Detroit, the World Saxophone Congress in Valencia Spain, and the International Computer Music Festival. Chamber music collaborations include those with the internationally acclaimed percussion ensemble NEXUS, Soundstreams Ensemble, with members of the Toronto Symphony Orchestra, (TSO), Toronto Wind Quintet, and with pianist Lydia Wong in the piano duo 2X10. In addition, she has performed with the Esprit Orchestra, and the TSO in their New Creations Festival. She has been featured on commercial recordings. Midori Koga, currently serves as Associate Professor of Piano and Director of Piano Pedagogy at the University of Toronto.

Laurence Kayaleh and Midori Koga will perform two of Edvard Grieg's beautiful violin sonatas - the Sonata in F Major op. 8 and the C Minor op. 45. In 1900 Edvard Grieg related that he thought his violin sonatas were among his best works.... ĺ─˛the first nałěve, rich in ideas, ....and the third with a wider horizonĺ─˘. The third Sonata is a masterpiece and was thought to be inspired by the playing of a beautiful female violinist who came to visit Grieg from Italy. Rounding out the program will be two famous piano works for four hands, Mozart's famous D Major Piano Sonata and Debussy's Petite Suite' played by Midori Koga and Jennifer Yu.ĺ─«ĺ─«

Charles Aznavour & The Clayton Hamilton Jazz Orchestra Press Release

Sound the trumpets, let the cymbals ring out, here's another Charles Aznavour, a new Aznavour, an Aznavour recalling the early Aznavour, before he had started singing. Who hadn't yet found his voice, who composed songs for others.

The songs he wrote for others had a jazzy feel, a furiously jazzy feel, a sincerely jazzy feel. Here, refuting rumours of retirement in brilliant style, he's coming back with a bang. Not singing new songs. Singing his songs differently. Which is bolder than you might think, not only at the age of 85, because the punters, of all sexes, colours and ages, all know his great classics off by heart, inside out and upside down. Great classics are untouchable, with their inflexions, orchestrations, guitar licks, a waltz with a violin, you can't change songs at the drop of a hat.The point is that a Charles Aznavour song, when sung by the man himself, takes wing, just like his daughter, the one he addresses in A ma fille, who no longer belongs to him. The song belongs to those who love it, you, me, those who take it in as they pass by. Aznavour's strong point is that he's not what you'd term a poet. His lyrics hit you with their deceptive simplicity, their totally unexpected acidity, their articulation. His syntax swings to keep up with his music.

Which is why, to give a new twist to these so very personal monuments, as well known as, for example, Comme ils disent, Il faut savoir, as autobiographical as La bohłüme, failure is a foregone conclusion! There's nothing as conservative as a pair of ears. They always hanker after that first version, the one they heard as they danced, cried, loved, in a romantic embrace or the depths of despair. A new take on such a song might get the benefit of all kinds of luxuries, the top session musicians, studios with the best facilities, ever more powerful machines and yearnings for youthful regeneration, there's nothing doing. It resists, stubborn as a mule.Unless you work a miracle!

When Charles first stepped into the legendary Capitol studios, 1750 North Vine St, Hollywood, he well knew which voices echoed in this futuristic temple, those of very real ghosts: Nat King Cole, Louis and Ella, Sinatra, Dean Martin, and just recently Diana Krall whose rhythm is set by two big names: John Clayton (composer and double bass player) and Jeff Hamilton (drums). Decked in shades, with the demeanour of a young rolling stone, we go down three blocks, to Sunset Boulevard, where Charles laughs that he might one day see his photo on the wall, up with the greats: "I'm not boastful, but it's a childish dream, to see a Frenchie up there". The entire album is imbued with this fresh spirit.

It was an encounter with the Clayton Hamilton Jazz Orchestra, the most musical of big bands, the most sophisticated, the most powerful of the time, which set the ball rolling. Twenty-five years' experience and enough albums, nominations and Grammy awards to fill a villa in Malibu. A slew of saxophones, trumpets, trombones, just what you need in the way of bass clarinet and violins, cellos and violas, heavyweights at each music desk, with an overall sound that captures the imagination of frail humans and their meagre dreams of fraternity, swing to swing you to heaven or hell, whatever, since Charles claims he has "friends in both". To measure up to such an ensemble, you need depth: like all big bands, they are devoted, body and soul, but on one, non-negotiable condition. That you can and do hold your own.

Giving rise to these songs that have been given a good shake-up, yet keep to the beat. So well, they seem to have blossomed rather than changed. Bringing forth intricate, unpredictable harmonies, an exercise in accuracy, and which yet, like lyrics, don't steal the show, know when to act discreet. Calling forth this incredible, playful accuracy, when the orchestra gets into the swing, totally attuned to that three-four time that's firmly grooved in Aznavour's brain.

What really takes your breath away, in this adventure, is that everything down to the titles of the new songs on this album (Fais moi rłüver, Je suis fier de nous, performed as a duet with Rachelle Ferrell) sounds like it's already achieved classic status, with melodies which already sound familiar, their spirit, their inimitable beat and unique way of loosening up, the skipping akin to a youngster bounding across a stream. In fact they sound long-loved yet long-lost.

This carefully crafted orchestral jazz, every bit as capable of shades of nuances as of getting moving, this group jazz on a razor-edge, the sound of each performer, isn't always listened to properly. As if we had forgotten that this most popular of intellectual music genres (jazz), is first and foremost intellectual. Subtly blending fundamentalism and ignorance, the high priests of jazz have got it all wrong, right the way down the line. For Aznavour, it's a princely form, ringing out like a church organ when Jacky Terrasson plays the piano or in a wild chorus by Jeff Clayton, John's brother, in the implacable playing of Jeff Hamilton, drummer and joint founder of the orchestra, or in riffs as carefully arranged as a flock of cranes crossing the sky. There's no doubting the project, ambition, achievement: yes, Le Jazz est revenu, jazz is back with a bang. And Charles Aznavour has never been truer to his own form.